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authorRoger Frank <rfrank@pglaf.org>2025-10-14 18:04:41 -0700
committerRoger Frank <rfrank@pglaf.org>2025-10-14 18:04:41 -0700
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+*** START OF THE PROJECT GUTENBERG EBOOK 60790 ***
+
+ THE SPANISH SERIES
+
+
+ THE SPANISH ROYAL
+ TAPESTRIES
+
+
+
+
+ THE SPANISH SERIES
+
+ _EDITED BY ALBERT F. CALVERT_
+
+
+ GOYA
+ TOLEDO
+ MADRID
+ SEVILLE
+ MURILLO
+ CORDOVA
+ EL GRECO
+ VELASQUEZ
+ THE PRADO
+ THE ESCORIAL
+ SCULPTURE IN SPAIN
+ MURCIA AND VALENCIA
+ ROYAL PALACES OF SPAIN
+ SPANISH ARMS AND ARMOUR
+ GRANADA AND ALHAMBRA
+ LEON, BURGOS AND SALAMANCA
+ TAPESTRIES OF THE ROYAL PALACE
+ CATALONIA AND BALEARIC ISLANDS
+ VALLADOLID, OVIEDO, SEGOVIA
+ ZAMORA, AVILA AND ZARAGOZA
+
+
+ LONDON
+ JOHN LANE, THE BODLEY HEAD
+
+
+
+
+ THE SPANISH ROYAL
+ TAPESTRIES
+
+ BY ALBERT F. CALVERT
+ WITH 277 ILLUSTRATIONS
+
+
+ LONDON: JOHN LANE, THE BODLEY HEAD
+ NEW YORK: JOHN LANE COMPANY MCMXXI
+
+
+
+ H. & K., Ltd., London, S.E. 1
+
+
+
+
+PREFACE
+
+
+In point of size, scope and general interest, this little book is
+perhaps the least considerable of the score of volumes comprised in The
+Spanish Series, but the collection would have lacked something of the
+completeness I have endeavoured to secure for it, if the subject of
+which it treats had not been included. As is inevitable in a series of
+this kind, many of the books are devoted to aspects and monuments of
+Spanish history and achievement, which have served the purpose of
+writers in all ages, but which could not, on that account, be omitted,
+while others have an imperative claim to inclusion on the ground that,
+though of secondary importance, they have never been dealt with
+elsewhere.
+
+The Tapestries which are here reproduced in greater number and variety
+than has hitherto been attempted are known to students and connoisseurs
+the world over, but the measure of that knowledge is limited. Many of
+the pieces in the possession of the Spanish Crown were acquired by
+purchase or inheritance, and others were woven in the Netherlands to the
+command of its Burgundian rulers, Margaret of Austria and Mary of
+Hungary. The fabrics designed by Goya owed their existence to the
+extraordinary interest displayed in the products of the looms by Charles
+III., while the famous Tunis Tapestries were designed and woven by Jan
+Vermay or Vermeyen, the Court painter and Wilhelm Pannemaker, the
+celebrated Flemish weaver, under the personal direction of the Emperor
+Charles V. Vermeyen accompanied the expedition which was launched
+against Tunis by Charles in 1535 and made his sketches on the spot; the
+contract given to Pannemaker by his Imperial patron stipulated the
+amount and quality of the silk and the number and value of the gold and
+silver threads to be employed; and both designs and finished pieces had
+to be submitted to the Emperor’s scrutiny and approval before the
+purchase price was paid.
+
+The Tunis Series was completed in 1554. The Tapestries were displayed in
+England on the occasion of the marriage of Philip and Mary in that year,
+and were not seen again in this country until 360 years later. They
+subsequently figured in all the great functions of the Spanish Court,
+and it was due to the Emperor’s fear that constant usage would injure
+the fabrics that a duplicate set, but on a smaller scale, was woven. The
+twelve pieces were again reproduced, on the same scale as the original
+frames, in 1740 by order of Philip V. A third copy is preserved in the
+Museum at Vienna, and a fourth, woven by Pannemaker, was found by the
+Maréchal de Contades in a castle near Mecklin during the Seven Years
+War.
+
+This collection of Spanish Royal Tapestries has been steadily
+accumulating since the thirteenth century, but the practice of weaving
+was not introduced into Spain until the first quarter of the seventeenth
+century when a little colony of Flemish weavers, subsidised by the King
+of Spain, settled at Pastrau in New Castile. A century later, at the
+invitation of Philip V., Jacques Van Der Goten and his four sons,
+established themselves in an _atalier_ in Madrid, and in 1776 Goya drew
+the first of the forty-five designs for Tapestries which, in the
+following fifteen years, were woven in the Royal workshops of Santa
+Barbara in Madrid.
+
+Although this wonderful collection has been added to by successive
+Spanish sovereigns over a period of six centuries, no effort was made to
+arrange, classify, or catalogue the fabrics until the work was put in
+hand at the instigation of Alfonso XII., and carried to completion by
+the late Queen Isabella. In 1903 an album of photographic reproductions
+of many of the finest specimens was published with historical and
+descriptive notes by Count Valencia de Don Juan, and this remained the
+only volume on the subject until 1914, when I prepared an illustrated
+handbook of the Tunis Series which, by gracious permission of King
+Alfonso, were displayed at the Anglo-Spanish Exhibition in London. The
+present book is the first attempt that has been made to present in
+English a record of the most valuable and interesting examples in the
+Royal Collection.
+
+ ALBERT. F. CALVERT.
+
+“ROYSTON,”
+
+ ETON AVENUE,
+
+ LONDON.
+
+
+
+
+CONTENTS
+
+
+CHAP. PAGE
+
+ I. HISTORY OF THE ART OF TAPESTRY WEAVING 1
+
+ II. THE FOUNDATION OF THE SPANISH ROYAL COLLECTION 14
+
+III. THE GOTHIC TAPESTRIES--SACRED PIECES 18
+
+ IV. TAPESTRIES OF THE GOTHIC-RENAISSANCE TRANSITION 24
+
+ V. RENAISSANCE TAPESTRIES 55
+
+
+
+
+ILLUSTRATIONS
+
+
+SUBJECT PLATE
+
+THE STORY OF THE VIRGIN. CARTOONS BY VAN EYCK.
+
+1. Jesus with His Mother 1
+
+2. The Virgin praying 2
+
+3. The Adoration of the Magi 3
+
+4. The presentation of Jesus in the Temple 4
+
+
+THE STORY OF DAVID AND BATHSHEBA.
+
+1. David sees Bathsheba 5
+
+2. Bathsheba consents to the love of David 6
+
+3. Nathan reproaches David with his sin 7
+
+
+THE STORY OF ST. JOHN THE BAPTIST.
+
+1. Zacharius recovering his speech 8
+
+2. The child John devotes himself to God 9
+
+3. St. John preaching in the wilderness 10
+
+4. The baptism of our Lord 11
+
+
+THE PASSION OF OUR LORD. CARTOON BY VAN DE WEYDEN.
+
+In the garden of Olives 12
+
+The Crucifixion 13
+
+The descent from the Cross 14
+
+
+VICES AND VIRTUES.
+
+1. God rewards worship 15
+
+2. Virtue punishes vice 16
+
+3. Fortune distributes roses 17
+
+4. God rewards those who are devout 18
+
+5. Virtue rewards her votaries 19
+
+6. God distributes honours 20
+
+7. Prudence is commended 21
+
+8. The faithful gain renown 22
+
+9. Infamy is punished 23
+
+10. The law giver delivers judgment 24
+
+
+THE FOUNDATIONS OF ROME.
+
+1. Romulus and Remus are found 25
+
+2. Remus taken captive 26
+
+3. Romulus becomes King 27
+
+4. Romulus dictates the laws 28
+
+5. Romulus institutes the Feast of Neptune 29
+
+6. Romulus gives the laws to the people 30
+
+7. Hersilia is presented to Romulus 31
+
+
+CONQUEST OF TUNIS. CARTOONS BY VERMEYEN.
+
+Plan of the campaign 32
+
+Review of the Army 33
+
+Review of the Army (part of) 34
+
+Disembarkation at Goletta 35
+
+The attack on Goletta 36
+
+Fight under Goletta 37
+
+The sortie from Goletta 38
+
+The capture of Goletta 39
+
+The capture of Tunis 40
+
+The sacking of Tunis 41
+
+The re-embarkation at Goletta 42
+
+The Army camping at Pada 43
+
+
+THE STORY OF ABRAHAM.
+
+1. Three Angels announce to Abraham that Sarah
+will have a son 44
+
+2. Abraham offering sacrifice 45
+
+SCENES FROM THE REVELATIONS.
+
+1. The Angel throws the beast into the Abyss 46
+
+2. The three horsemen 47
+
+3. St. John and the seven churches of Asia 48
+
+4. St. John and the Temple of God 49
+
+5. Condemnation of the prostitute 50
+
+6. The Angel carrying the Gospel 51
+
+7. The crowd adore the lamb 52
+
+8. The four Angels of Euphrates 53
+
+9. Combat between good and evil spirits 54
+
+
+THE SEVEN DEADLY SINS.
+
+1. Luxury 55
+
+2. Greediness 56
+
+3. Envy 57
+
+4. Anger 58
+
+
+ACTS OF THE APOSTLES. CARTOONS BY RAPHAEL.
+
+1. The miraculous draught of fishes 59
+
+2. The miraculous draught of fishes 60
+
+3. The miracle of the paralytic 61
+
+4. The death of Ananias 62
+
+5. The martyrdom of St. Stephen 63
+
+6. The martyrdom of St. Stephen 64
+
+7. The conversion of St. Paul 65
+
+8. The blindness of Elymas 66
+
+9. St Paul at Lystria 67
+
+10. St. Paul in the Temple 68
+
+11. St. Paul at Ephesus 69
+
+12. St. Paul at Ephesus 70
+
+13. St. Paul preaching in Athens 71
+
+14. Christ appears to His Disciples 72
+
+15. Christ choosing St. Peter 73
+
+16. The paralytic 74
+
+17. Death of Ananias 75
+
+18. Conversion of St. Paul 76
+
+19. The blind man Elymas 77
+
+20. St. Paul and St. Barnabas at Lystria 78
+
+
+THE STORY OF VERTUMNUS AND POMONA.
+
+1. Vertumnus transformed into a husbandman 79
+
+2. Vertumnus takes a fishing rod 80
+
+3. Vertumnus transformed into an agriculturist 81
+
+4. Vertumnus transferred into a gardener 82
+
+5. Vertumnus transformed into a reaper 83
+
+6. Vertumnus at the harvest 84
+
+7. Pomona upbraids Vertumnus 85
+
+8. Vertumnus disguised kisses Pomona 86
+
+9. Vertumnus regains his natural form 87
+
+
+THE STORY OF SCIPIO AFRICANUS.
+
+1. The capture of Carthage 88
+
+2. Scipio saves his father 89
+
+3. Carthage sends Ambassadors 90
+
+4. The triumph of Scipio 91
+
+5. The banquet 92
+
+6. Scipio gives up his betrothed 93
+
+7. Scipio gives up his betrothed (section) 94
+
+8. Scipio delivers judgment 95
+
+9. The triumph 96
+
+10. Scipio and Hannibal 97
+
+11. The triumph of Scipio 98
+
+
+THE STORY OF CYRUS.
+
+1. Cyrus takes Astyage prisoner 99
+
+2. Cyrus is recognised by Astyage 100
+
+3. Meeting of Cyrus and the Queen 101
+
+4. Cyrus sends a messenger 102
+
+5. Cyrus unites the Medes and Persians 103
+
+6. Cyrus saves Croesus from the Stake 104
+
+7. The Queen and Cyrus 105
+
+8. Cyrus takes Croesus prisoner 106
+
+9. Cyrus and the Lydians 107
+
+10. Cyrus releases the Hebrews 108
+
+11. Cyrus is entrusted to a Shepherd 109
+
+12. Hystaspe and Amenophis 110
+
+
+THE STORY OF DIANA.
+
+1. Birth of Diana 111
+
+2. Diana resting 112
+
+3. Diana and Jupiter 113
+
+
+THE SPHERES.
+
+1. Hercules supports the sky 114
+
+2. Atlas supports the world 115
+
+
+THE STORY OF DECIUS.
+
+1. Decius raises his country 116
+
+2. Decius sends lictors to Manlius 117
+
+3. Decius bids farewell to the lictors 118
+
+4. Decius departs to fight the Latins 119
+
+5. Decius dedicates himself to the Legions 120
+
+6. Valerius and Decius 121
+
+7. The vision of Decius 122
+
+8. Death of Decius 123
+
+9. Funeral of Decius 124
+
+
+THE STORY OF VENUS.
+
+1. Offerings to Venus 125
+
+2. The challenge of Cupid and Venus 126
+
+
+STORY OF THE CREATION OF MAN.
+
+1. God creates man 127
+
+2. Cain kills his brother Abel 128
+
+3. God curses Cain 129
+
+4. The tree of good and evil 130
+
+THE STORY OF TOBIAS.
+
+1. Sarah marries Tobias 131
+
+2. The return of Tobias and Sarah 132
+
+
+THE SEASONS.
+
+1. Summer 133
+
+2. Winter 134
+
+
+THE STORY OF SOLOMON.
+
+1. Solomon is annointed King 135
+
+2. Solomon marries an Egyptian Princess 136
+
+3. Solomon and the Queen of Sheba 137
+
+
+HISTORY OF A MAN’S LIFE.
+
+1. Divinity advocates Temperance to Man 138
+
+2. The Vices repulse Temperance 139
+
+3. Time surrounds him with Prudence 140
+
+4. Virtue triumphant 141
+
+5. Patience humiliates Fortune 142
+
+6. Fortune fights avarice 143
+
+7. Blind Fortune bestows good and evil 144
+
+8. Two ancient philosophers 145
+
+9. Divinity reveals Temperance 146
+
+10. Vice repulses Temperance 147
+
+
+STORY OF ANTHONY AND CLEOPATRA.
+
+1. Anthony leaves Rome 148
+
+2. Anthony receives homage 149
+
+3. Anthony disposes of Egypt’s treasures 150
+
+4. Cleopatra mocks Anthony’s weakness 151
+
+
+THE STORY OF ALEXANDER THE GREAT.
+
+1. Alexander and his Doctor Philip 152
+
+2. The battle of Issus 153
+
+3. The siege of Tyre 154
+
+4. Alexander in Carmonia 155
+
+5. Surrender of the Kings of Cyprus and Phœnicia 156
+
+6. Alexander in Asia Minor 157
+
+THE TRIUMPH OF LOVE 158
+
+THE TRIUMPH OF DEATH 159
+
+THE TRIUMPH OF CHASTITY 160
+
+
+THE STORY OF TOLEMACHUS.
+
+1. The young Tolemachus 161
+
+2. Neptune wrecking Ulysses’ ship 162
+
+
+THE STORY OF PAUL.
+
+1. St. Paul in the Temple 163
+
+2. St. Paul before Agrippa 164
+
+3. St. Paul executed at Rome 165
+
+
+TEMPTATION OF ST. ANTHONY.
+
+1. St. Anthony departs for the Retreat 166
+
+2. St. Anthony tempted by the Devil 167
+
+3. Paradise, Purgatory and Hell 168
+
+
+STORY OF THE EMPEROR OCTAVIUS.
+
+1. Julius Cæsar adopts Octavius 169
+
+2. The battle of Phillippi 170
+
+3. Octavius closes the Temple of War 171
+
+4. Death of Cleopatra 172
+
+
+THE STORY OF MOSES.
+
+1. Moses and Aaron before Pharoah 173
+
+2. God chooses Moses to deliver Israel 174
+
+3. Moses comes from Mt. Sinai 175
+
+BATTLES OF THE ARCHDUKE ALBERT.
+
+1. Surrender of Hulst 176
+
+2. Ardres surprised by a night attack 177
+
+3. Hulst besieged 178
+
+4. Taking of Calais 179
+
+5. The return of the garrison 180
+
+
+THE STORY OF THESEUS.
+
+1. Theseus leaves for Crete 181
+
+2. Theseus receives the sword of Ægeus 182
+
+3. Ægeus recognises his son 183
+
+4. Theseus armed with the Mace 184
+
+5. Bacchus marries Ariadne 185
+
+6. Theseus receives the ring of Minos 186
+
+7. Theseus leads the bull of Marathon 187
+
+8. Theseus and the head of Minotaurus 188
+
+THE FUNERAL OF KING TURMUS 189
+
+DIDO AND THE PORTRAIT OF ÆNEAS 190
+
+
+THE STORY OF SAMPSON.
+
+1. Sampson propounds his riddle 191
+
+2. Sampson is betrayed by Delilah 192
+
+
+THE STORY OF NOAH.
+
+1. Noah building the Ark 193
+
+2. Noah leaving the Ark 194
+
+
+THE WAY OF HONOUR.
+
+1. Grace accords immortal crowns 195
+
+2. Virtue accords honour 196
+
+3. Merit receives reward 197
+
+
+STORY OF ZENOBIA.
+
+1. Nuptial banquet of Zenobia and Odenat 198
+
+2. Zenobia is taken prisoner 199
+
+3. Zenobia led captive 200
+
+STORY OF DON QUIXOTE.
+
+1. Departure of Don Quixote 201
+
+2. Don Quixote and the three Peasant Women 202
+
+3. Princess Micomicona 203
+
+4. Don Quixote is beaten by the Merchants 204
+
+5. Don Quixote is enclosed in a cage 205
+
+6. The Muleteer meets Don Quixote 206
+
+7. Sancho marches to Toboso 207
+
+8. Repetitions of preceding pictures 208
+
+
+STORY OF PHAETON.
+
+1. Phœbus allows Phaeton to drive the chariot of
+the sun 209
+
+2. Phaeton drives the chariot of the sun 210
+
+3. Jupiter confounds Phaeton 211
+
+4. The body of Phaeton is recovered 212
+
+CHASTITY PUTS CUPID TO FLIGHT 213
+
+RUSTIC SCENES AFTER GOYA AND BAYEU 214
+
+PANELS AFTER GOYA 215
+
+QUARREL IN AN INN, AFTER GOYA 216
+
+PANELS AFTER TENIERS 217
+
+PANELS AFTER TENIERS 218
+
+PANELS AFTER TENIERS 219
+
+VILLAGE DANCE AFTER TENIERS 220
+
+PANELS AFTER TENIERS 221
+
+DESCENT FROM THE CROSS 222
+
+CHRIST ON THE CROSS 223
+
+THE CRUCIFIXION, BY VAN DER WEYDEN 224
+
+OUR LORD APPEARING TO THE HOLY WOMEN 225
+
+ST. JEROME IN THE DESERT 226
+
+THE ETERNAL FATHER 227
+
+OUR LORD AND ST. VERONICA 228
+
+MARY ANNOINTING THE FEET OF THE SAVIOUR 229
+
+THE CONFUSION OF TONGUES 230
+
+THE LAST SUPPER 231
+
+THE ADORATION OF THE MAGI 232
+
+NEOPTOLEMY SACRIFICES POLYZEMA 233
+
+TIME AND TEMPERANCE RESTRAIN CUPID 234
+
+ULYSSES ACCEPTS THE PRESENTS OF ALCINOUS 235
+
+PENELOPE RECOGNISES ULYSSES 236
+
+COURTIERS PRESENTING THEMSELVES BEFORE A KING 237
+
+CHILDREN PLAYING--XVITH CENTURY 238
+
+DEATH OF CLEOPATRA 239
+
+PORTRAIT OF A WOMAN 240
+
+CALCHAS OF AGAMEMNON 241
+
+A GROVE 242
+
+ON THE BANKS OF A RIVER 243
+
+PRINCE BALTAZAR CARLOS 244
+
+ALLEGORY OF THE TIBER AND ROME 245
+
+IMPERIAL FUNERAL BED OF STATE 246
+
+ROYAL ARMS OF PHILIP V. 247
+
+PANELS 248
+
+A FRIEZE 249
+
+BORDERS OF TAPESTRIES 250
+
+THE PASSION OF OUR LORD 251
+
+DEATH OF ABSALOM 252
+
+THE BIRTH OF CHRIST 253
+
+DESCENT FROM THE CROSS 254
+
+ST. GREGORY’S MASS 255
+
+TRIUMPH OF JOSEPH 256
+
+KING CHARLES III. 257
+
+QUEEN AMELIA AND SAXONY 258
+
+MYTHOLOGICAL SUBJECT 259
+
+AFTER THE VICTORY 260
+
+THE TEMPLE 261
+
+THE COLONNADE 262
+
+THE PALACE 263
+
+FRAGMENTS 264
+
+PANELS 265
+
+PANELS AFTER ANDRES DE AGUIRRE 266
+
+PANELS AFTER TENIERS 267
+
+FRAGMENTS AFTER TENIERS 268
+
+FRAGMENTS AFTER TENIERS 269
+
+PANELS AFTER TENIERS 270
+
+FRAGMENTS AFTER TENIERS 271
+
+FRAGMENTS AFTER TENIERS 272
+
+CHILDREN PLAYING, AFTER GOYA 273
+
+PANELS AFTER GOYA 274
+
+PANELS AFTER GOYA AND BAYEU 275
+
+PANELS AFTER GOYA AND BAYEU 276
+
+CORIOLANUS AND HIS MOTHER 277
+
+
+
+
+THE SPANISH ROYAL TAPESTRIES
+
+
+
+
+CHAPTER I
+
+HISTORY OF THE ART OF TAPESTRY WEAVING
+
+
+The term tapestry is often applied to any hangings of mediæval
+workmanship whether woven on a frame or not. This use of the word is
+incorrect. Tapestry is a fabric woven with coloured wools on to warp
+threads in a loom or frame, in which the weft completely conceals the
+warp. It is woven all in one piece. This distinguishes it from
+embroidery or other needlework to which stitches are added after the
+groundwork of the fabric has been detached from the frame. The worker
+weaves directly from a design or cartoon which is supplied to him.
+
+Tapestry frames are of two kinds. In the first the warp threads are
+arranged in a perpendicular frame, and the weaver sits before his work.
+This is known as high-warp (_haute lisse_) weaving, and is the method
+in use at the celebrated manufactory at Gobelins in France. In the other
+method the warp threads are stretched horizontally, and the weaver must
+bend over his work. This is known as low-warp (_basse lisse_) weaving,
+and is the process followed at Beauvais. On the whole the high warp
+weaving gives a fabric of firmer and finer texture.
+
+The rest of the process is precisely similar. The weft threads of
+different colours, each attached to a separate bobbin or shuttle, are
+passed alternately behind and in front of the warp threads, leaving a
+little dot of colour behind. The second thread will, of course, take up
+the warp thread the first has passed over, and pass in front of that
+which the first one has passed behind. The two threads are then pushed
+together with a comb until they fall into one straight line. The warp is
+now completely concealed.
+
+Tapestry weaving is an art that stands alone. Like furniture, tapestry
+was of utilitarian origin, and cannot, therefore, be judged by the
+standards applied to painting and the purely decorative arts. As
+originally used in ancient buildings, it was hung some feet from the
+walls to serve as a draught screen, or was suspended between pillars to
+shut off one apartment from another. It was generally hung, therefore,
+in undulating folds, the stiff panels and upholsteries of later
+workmanship being a spurious growth.
+
+The decorative value of such hangings was, of course, seized on at once
+by the wealthy, who alone could afford them, and from the earliest times
+tapestries became things of beauty. But in estimating their artistic
+value we have to remember their original use. A tapestry curtain woven
+with a symmetrical central design would appear quite distorted when
+pushed aside by some one entering a room. Central unity, therefore, the
+great merit of painting, is in tapestry artistically bad. The designs
+that are most suitable are duplicated or repeated designs, with a
+crowded background. These will secure a certain uniformity in the
+suspended fabric. For this reason, therefore, such panels as Raphael’s
+_Acts of the Apostles_, though fine specimens of pictorial art, are, as
+tapestries, artistically faulty, beautiful though they are when
+considered merely as works of art.
+
+Its first utilitarian purpose being fulfilled, tapestry becomes a
+decorative art designed only to please and rest the eye. Tragic
+subjects, therefore, such as the _Descent from the Cross_ and the
+_Passion of Our Lord_, are unsuitable, though they constantly tempted
+the mediæval _tapissier_. Much finer are those works that depict
+stirring historical scenes, the _Triumphs of Cæsar_ or the _Conquest of
+Tunis_, or those which deal with light mythological subjects with their
+pleasantly crowded backgrounds of fruit, flowers, and cupids. Dull and
+sombre colourings are also bad. The richest dyes, enriched with metallic
+threads of gold and silver, should glow against the background of the
+cold stone pillars. All these æsthetic rules, however, were constantly
+violated by the mediæval artificers, who could not rid themselves of the
+idea that art in any form should be didactic, and subserve the purposes
+of the Church and morality.
+
+Tapestry weaving is certainly one of the most ancient of all the arts.
+Fragments have been left behind by all the early civilizations to bear
+witness to their skill. The art was practised by the early Egyptians,
+the Babylonians, Chinese, and Peruvians, while the Greeks and Romans
+brought it to a high state of perfection. It is noticeable that from the
+very beginning the texture of the fabric has scarcely altered, while the
+modern tapestry looms are but the natural development of the primitive
+frames used by the ancient Egyptians.
+
+The earliest specimen of weaving that has been discovered was found in
+one of the Swiss lake dwellings, and can only be a relic of the later
+Stone Age. Fragments somewhat similar have come to light in stone
+coffins found in Yorkshire, while at Thornton, near Kolding, in Jutland,
+whole costumes have been discovered that must have belonged to the Age
+of Bronze.
+
+The first historic references to the art come to us from early Egypt.
+Here the weavers were probably women. The Beni Hassan wall-paintings,
+which date from about 1600 B.C., depict weavers squatting at horizontal
+low-warp frames. There are three fragments of this early tapestry
+preserved in the Museum of Egyptian Antiquities at Cairo. Their
+uniformly fine workmanship proves that the weaving of tapestries had
+been carried to a high degree of excellence in the reign of Thothmes
+III. The texture of the fabric is very fine, and the pattern is
+identical on both sides. Some elasticity of pattern has been achieved by
+the occasional slackening of warp threads. This points to a loom where
+the threads were weighted, but not fastened to a cylinder.
+
+A Greek vase found at Chiusi shows Penelope weaving at a high-warp frame
+while she holds her suitors at bay. This belongs to the fifth century
+B.C., and the loom depicted is very like those used in Scandinavian
+countries.
+
+Catullus speaks of tapestries that showed the adventures of Theseus and
+Ariadne. The figures of Britons were constantly being reproduced in
+Roman tapestries. In Rome there were organized societies of weavers
+known as _collegii opificum_. The fabrics that have been preserved are
+woven in coloured woollens and linen threads. They show a wealth of
+floral and leaf adornment, and figures of ducks and fishes. One shows a
+child riding a white horse; another portrays Hermes with his caduceus.
+These date from the second or third centuries A.D.
+
+The growth of Christianity, and the breaking up of Roman civilization,
+drove the art of tapestry weaving into monasteries and convents, or to
+the royal courts. It was not until the eleventh century that
+associations of free craftsmen--as against the early organizations of
+slaves--began to be formed in different countries. The movement started
+in England, Flanders, and Brabant, and afterwards spread to France,
+where this particular form of art was to find so congenial a home.
+
+The Golden Age of mediæval tapestry opened, however, in the thirteenth
+century when Raphael began his cartoons. This introduction of realism,
+the widening of the whole artistic range, was rendered more feasible by
+the discovery of new dyes which added richer and more glowing tints to
+the fabrics. The borders, which had previously been simple, grew wider
+and more elaborate in design. From this ever-increasing elaboration of
+the borders, indeed, it is often possible to fix the date of an
+otherwise dubious specimen.
+
+In the following century Arras became the centre of the industry. So
+closely was the tapestry associated with its place of manufacture that
+in England the name of the town became synonymous for the name of the
+fabric, and the arras became a recognized decoration of luxurious rooms.
+From early times there are references in Spanish inventories to _pan de
+raz_. This supremacy remained unchallenged until the fifteenth century
+when Brussels and Bruges achieved fame as tapestry centres. In the
+sixteenth and seventeenth centuries the industry took root at
+Middleburg, Delft, and Paris, and Mortlake in England became a famous
+centre in the seventeenth century.
+
+It was not until the late seventeenth century that tapestry weaving
+really became established in Spain. Before that the Spanish kings and
+nobles had been content to acquire masterpieces of foreign workmanship,
+chiefly from the Low Countries. There are, however, traces of a feeble
+industry to be found as far back as the late fourteenth century when one
+man seems to have followed the craft of _tapissier_ in Catalonia. It is
+possible--but not certain--that two _tapissiers_ of Navarre, who
+flourished about 1411--Llucia Barthomew and Juan Noyan--may have been
+Spaniards. Another Barthomew is spoken of a few years later in connexion
+with two tapestries, namely, those of the _Resurrection_ and _St.
+Anthony_.
+
+A panel of Spanish tapestry, obviously intended for altar decoration,
+has recently been discovered that dates from the early fifteenth
+century. The centre is occupied by the figure of John the Baptist
+bearing the Paschal Lamb, flanked by St. Martin of Tours in the dress of
+a bishop, and by St. Hugh of Grenoble. Gold and silver threads are
+employed, and the arms are shown of Martin of Aragon and of his wife,
+Maria de Luna, who died in 1407. This king appears to have interested
+himself in tapestries, and we read that the walls of the royal palace at
+Saragossa were adorned with these costly fabrics at his coronation in
+1398. King John of Aragon before him had introduced, we read in a
+document dated 1388, a company of “brobadors de Brabant.”
+
+From the fifteenth century onward the costliest tapestries were much
+sought after in Spain, and magnificent displays were made on the
+occasions of State banquets or royal weddings. Towards the end of the
+fifteenth century a special official was appointed by the king to take
+charge of the royal collection, which was already considerable. This
+official, Pedro Entierrez by name, was himself a weaver. He made
+strenuous efforts to develop the industry in the Spanish capital, but
+apparently without much success. At any rate, a letter of his is
+preserved among the records of the Spanish Academy of History, in which
+he complains bitterly of the treatment meted out to himself and his
+fellow-workers. He was accused by his enemies of being ambitious,
+unskilled, and slow. These aspersions he proceeds very fully to refute.
+He complains that his supplies of raw material were limited, and that he
+was not allowed to set up his heavier instruments in Madrid.
+
+It was not, however, until 1624 that the attempt to graft the weaving of
+tapestry on to Spanish art really succeeded. In this year a small colony
+of Flemish weavers settled in the little town of Pastran in New Castile,
+being directly subsidized by the king. Five thousand ducats were paid to
+them in the first year, and in the following year they received a
+further seven thousand ducats.
+
+Meantime the unfortunate Pedro Entierrez had found a rival in a certain
+Antonio Ceron who had set up looms at Santa Isabel. Here he established
+four workshops, and instructed eight apprentices in the art of weaving
+tapestry. It is probably one of these ateliers that has been
+immortalized by Velazquez in _Las Hilanderas_. This painting shows in
+the background a tapestry of mythological inspiration, while in the
+foreground women are seen unwinding skeins of wool.
+
+For some time the poverty of the Spanish Crown held the industry in
+check. But by 1720 a family of Spanish weavers from Antwerp, consisting
+of one Jacques Van der Goten and his four sons, came over on the
+invitation of Philip V and established an atelier in Madrid, where
+tapestry was produced on low-warp frames. A few years later high-warp
+looms were introduced from France, and the industry spread to Seville.
+Some famous pieces were wrought in Spain at this time. Jacques Van der
+Goten produced the _Virgin with the Pearl_ from a cartoon by Raphael,
+while the famous series representing the _Conquest of Tunis_, and the
+_History of Telemachus_, were reproduced by a well-known weaver called
+Andrea Procaccini. Cartoons were also designed by Procaccini for a
+“History of Don Quixote,” which have been constantly reproduced in
+tapestry.
+
+The fashion changed, and for a time the demand was all for Dutch
+tapestries. Van der Goten set his workmen to copy the cartoons of
+Solimena Teniers and the other Dutch cartoonists. But at the same time
+original designs were not neglected, and by the end of the eighteenth
+century the industry had become quite considerable, employing
+permanently no less than fifteen workmen. The last of the Van der Goten
+brothers died in 1786, and the direction of the Santa Barbara atelier
+passed to a nephew.
+
+The culmination of the prosperity of the Spanish _tapissiers_ was marked
+by the execution of the celebrated Goya tapestries. These cartoons, to
+the number of forty-five, were designed for the decoration of the
+apartments of the Prince of Asturias in the Prado. Some of them,
+however, are to be found on the walls of the Escorial, and many,
+unhappily, have been lost. Goya brought to his task his own peculiar
+talents. Hitherto the designers of cartoons had been content to find
+their inspiration in ancient Bible stories or in the myths of Greece or
+Rome. They had depicted incidents from the life of Christ and the
+Virgin Mary; they had painted moralities, virtues, and vices. Goya did
+none of these things. When he was summoned from Rome to Madrid by
+Raphael Mengs, then the director of the workrooms of the Spanish
+capital, he decided to portray in tapestry the actual life of the people
+around him. In place of the stilted, conventional figures of his
+predecessors he produced cartoons instinct with life and vivid movement.
+The enthralling realism of the bull-fight, village fairs and festivals,
+the romantic loves of Andalusian peasants, the popular excitement of
+kite-flying--these were the subjects treated by this most realistic of
+artists.
+
+Goya achieved an immediate success. Time after time his cartoons were
+reproduced by the Spanish weavers. The King, pleased at the distinction
+with which the artist invested his Court, spent enormous sums upon
+tapestries, and encouraged his household to do the same. In the four
+years from 1776 to 1780 the sum of 817,956 _reales_ was expended at the
+Court on the purchase of tapestries and cartoons. Other well-known
+artists contributed cartoons to the Madrid workshops, among whom we find
+the names of Van Loo, Conrado, Giaquinto, Mengs, Jose de Castillo,
+Antonio Gonzalez, Mariano Nani, Andres Gines, Antonio Barbaza, and Jose
+de Salas.
+
+The French invasion caused the closing down of the workshops of Santa
+Barbara in 1808. Some years later they were reopened by the son of St.
+Ferdinand’s weaver, and once again beautiful fabrics were woven from the
+designs of Goya. The death of Ferdinand VII in 1833 gave a severe blow
+to the industry, but there are still looms in Santa Barbara where
+exquisite tapestries are executed under the direction of a descendant of
+Jacques Van der Goten.
+
+
+
+
+CHAPTER II
+
+THE FOUNDATION OF THE SPANISH ROYAL COLLECTION
+
+
+In order to understand how the finest collection of Renaissance
+tapestries in the world came to be in the royal palace at Madrid, it is
+necessary to know something of the complicated history of the
+Netherlands during the later fifteenth and sixteenth centuries, when the
+Flemish tapestry weaving industry was at the height of its reputation.
+
+During the earlier decades of the fifteenth century the Dukes of
+Burgundy were employed in the consolidation of their power by the
+acquisition of province after province in the Low Countries. By 1443
+these territories included, in addition to the French duchy of Burgundy,
+Flanders, Artois, Namur, Holland, Zeeland, Friesland, Brabant, Limbourg,
+and the duchy of Luxembourg, and Burgundy had to be reckoned with as a
+great European power. The Court of Philip the Good was, indeed, the most
+luxurious in Europe, enriched with the finest paintings, the rarest
+books, and the most beautiful tapestries. Charles the Bold added Liége
+and Gelderland to the territories inherited from his father. On his
+death in 1477, Burgundy, Franche Comté, and Artois reverted to France.
+The rest of Charles’s dominions passed to his daughter Mary, who married
+Maximilian of Austria. On Maximilian’s election as Emperor, he made his
+son, Philip the Handsome, ruler of the Netherlands. The marriage of
+Philip with Joanna of Aragon secured to their son Charles the kingdoms
+of Aragon and Castile. On Charles’s election as Emperor in 1519, in
+succession to his grandfather Maximilian, he united the sovereignties of
+Spain and of the Netherlands.
+
+Margaret of Austria had already been appointed by Maximilian as ruler of
+the Netherlands. In this position the new Emperor left her, showing
+therein great wisdom, as Margaret proved a popular ruler. On her death
+he appointed his widowed sister, Mary of Hungary, as her successor.
+Under the beneficent rule of these two Burgundian ladies, the industry
+of tapestry weaving flourished and reached its height. The Netherlands
+enjoyed a long term of peace and prosperity. Both Margaret of Austria
+and Mary of Hungary were enthusiastic patrons of the art, and many
+well-known series of tapestries were woven at their command. These
+pieces passed, almost without exception, into the hands of Charles V and
+Philip II on the death of their original owners. During the long and
+bitter struggle against the Catholic Philip, the industry, as was
+inevitable, languished and never again recovered its ancient vigour.
+
+It has been asserted that the Spanish kings used their power in the
+Netherlands to extort from the weavers the finest products of their
+looms by blackmail, or even torture. There seems to be little
+foundation, if any, for this charge. With one exception, where the
+origin of the tapestries is known, they were acquired by inheritance or
+purchase, or were made, as in the case of the _Conquest of Tunis_,
+directly to the royal command.
+
+Besides the tapestries dealt with in the following pages the Spanish
+royal collection contains an even greater number of pieces of less
+importance and artistic value, disposed upon the walls of the palace.
+These also are almost entirely of Flemish origin, except those which
+were the product, at a later date, of the Spanish looms established by
+the much persecuted Van der Goten. A large number of the tapestries here
+described were shown at the Paris Exhibition of 1900, when, for the
+first time, the world became aware of the artistic wealth so long hidden
+in the Royal Palace of Madrid.
+
+The accumulated treasures of the Spanish Court had remained for many
+years neglected and uncatalogued, their history and origin uncertain or
+unknown. It was King Alfonso XII who first conceived the idea of
+arranging the royal tapestries, studying their history, discovering,
+where possible, their designers and makers, and classifying them into
+groups and series, and making photographs of the whole collection. This
+work was subsequently completed by the late Queen Isabella of Spain.
+
+In 1903 an excellent series of photographic plates representing the
+finest of the tapestries was published in book form, accompanied by
+critical and historical notes from one of the finest art critics of
+Spain--the Count Valencia de Don Juan. It is to this learned and
+discerning writer that I am most indebted for the explanatory notes
+which accompany the reproductions included in this volume. The
+tapestries are, as far as possible, treated in groups connected by
+similarity of subject except where several pieces form a continuous
+series.
+
+
+
+
+CHAPTER III
+
+THE GOTHIC TAPESTRIES--SACRED PIECES
+
+
+It is a notable fact that the earlier Gothic tapestries--those of the
+thirteenth and fourteenth centuries and earlier--nearly all deal with
+religious subjects. From this we are apt to acquire an exaggerated idea
+of the part played by religion in mediæval life. The true explanation is
+that in the cockpit of Europe during these fierce and warlike times art
+in any form found itself unable to exist. Only in the monasteries could
+it find refuge, and these became the centres, not only of the fine arts,
+but also of textile arts like tapestry-weaving. The effects of this
+monopoly were unfortunate. The imagination of the designers of cartoons
+was stunted. They came to believe that the duty of tapestry was not to
+delight the eye, but to preach trite little sermons. Hence the endless
+series of pictures extolling the practice of vices. The chief beauty of
+the earlier Gothic tapestries lay in the brilliance and richness of the
+dyes. But as the times became less barbarous, and art began to flourish
+outside the monastery and the cathedral close, the Gothic tapestries
+gained a new vigour and beauty. The religious inspiration remained,
+giving, indeed, an atmosphere of chastened restraint that to many people
+denotes the high-water mark of the art. But the incursions of the outer
+world could no longer be restrained, and we get the delightful posies of
+spring flowers, the bluebells, daisies, lilies, and primroses--the
+_millefleurs_--all utterly irrelevant and charming, that intrude into
+fierce battle scenes and into the mystic visions of the Apocalypse.
+
+All the Gothic tapestries in the Spanish royal collection are of Flemish
+workmanship.
+
+
+GROUP 1, including _The Birth of Christ_ and _The Mass of St. Gregory
+the Great_
+
+_The Birth of Christ_ is probably one of the oldest pieces of the whole
+collection. It is mentioned for the first time as forming part of the
+collection left by Juana the Mad, who died at Tordesillas in 1555.
+Neither the designer nor the weaver can be identified. “The Gothic
+architecture of the buildings in the background,” says the Count
+Valencia de Don Juan, “the attitude of the persons, the singularity and
+richness of their costumes, and, above all, the drawing, recalls the
+tapestries which were made at Arras in the fifteenth century.”
+
+The tapestry represents the birth of Christ in fulfilment of the
+prophecies of the Prophets Isaiah and Micah, and of Aaron the High
+Priest of the Israelites. The scroll to the left by the figure of Micah
+bears the legend (translated into English), “And thou, Bethlehem
+Ephrata, art small among the cities of Judah, nevertheless out of thee
+shall come forth He that is to be the Ruler in Israel” (Micah v. 2).
+That to the right bears the (translated) inscription, “For a child is
+born to us, and a Son is given to us, and the Government is upon His
+shoulder; and His name shall be called Wonderful, Counsellor, God ...”
+etc. (Isaiah ix. 6).
+
+This tapestry is made of silk and wool interwoven with gold threads. It
+was probably used as an altar piece. Two pieces of red and gold brocade,
+of much later workmanship, have been added.
+
+_The Mass of St. Gregory the Great._ Neither the designer of the cartoon
+nor the town where this tapestry was woven is known. It is of Flemish
+origin, and the Gothic arches, each enclosing a scene in the life of
+Christ, point to Bruges as its place of origin. It is mentioned by
+Ferdinand V of Aragon in the Act of Discharge of Juan Valazquez (1555)
+as a gift from the Princess Juana to her mother, Queen Isabel the
+Catholic.
+
+The tapestry shows the celebration of Mass by St. Gregory the Great in
+the presence of King David and St. Augustine. The scroll to the left
+bears the (translated) inscription, “Man shall eat the bread of angels.”
+That on the right reads, “The sacrament is the outward visible form of
+the invisible Grace.”
+
+This tapestry is woven in silks and wool enriched by threads of gold and
+silver.
+
+
+GROUP 2. _The Story of the Holy Virgin_
+
+_1st Series._ Consists of four pieces which once bore in the corner as a
+heraldic mark a small lion embroidered in gold on a black ground.
+Cartoons said to be by Van Eyck. Of Flemish origin, probably belonging
+to the Bruges atelier.
+
+These tapestries belonged to Philip the Handsome and Juana the Mad.
+Transferred by Charles V to the monastery of Yuste, and again removed by
+Philip II to the monastery of the Escorial, they were in constant use
+for the religious ceremonies attended by the Royal Household owing to
+their unusual beauty.
+
+The first piece represents God commanding the Archangel Gabriel to
+announce her destiny to the Virgin Mary.
+
+The second piece represents the Annunciation.
+
+The third piece represents the Birth of Christ.
+
+The fourth piece represents the Coronation of the Holy Virgin.
+
+_2nd Series._ In spite of the similarity of the borders the two
+tapestries here treated do not form a continuous series with those
+previously described. They probably came from workrooms of Brussels.
+Designer and weaver unknown, but resemblance has been noted between the
+figures of Adam and Eve and similar figures on a triptych designed by
+the brothers Van Eyck.
+
+The subjects of these two tapestries are obscure. They appear, however,
+to refer--
+
+First, to the fulfilment of the prophecies as to the birth of the Son of
+God;
+
+Secondly, to the presentation of Jesus in the Temple.
+
+All these tapestries are of extraordinary beauty. They are woven of silk
+and wool enriched with gold and silver threads.
+
+
+GROUP 3. _The Story of David and Bathsheba_ (10 Tapestries)
+
+Three of these tapestries are mentioned in the _Inventaire des Rois
+Catholiques_ under the heading “Bed,” having evidently formed part of
+the draperies of a bed belonging to some royal personage. These are of
+Flemish origin and date from the end of the fifteenth century. They are
+woven in silk, wool, and gold thread.
+
+To these were later added seven bed canopies of Gothic design. The
+subjects of the tapestries are as follows:
+
+(1) David surprises Bathsheba in her bath and falls in love with her
+beauty. For the sake of modesty, however, the artist has represented
+Bathsheba fully clothed, washing her hands at a small fountain.
+
+(2) The Marriage of David and Bathsheba. David, from being a
+smooth-faced boy, has become a bearded man.
+
+(3) The prophet Nathan reproaches David with his evil ways.
+
+The remaining seven tapestries apparently represent some sylvan festival
+in which courtiers make offerings of fruit and flowers to ladies. The
+playing-cards are worth noticing.
+
+
+
+
+CHAPTER IV
+
+TAPESTRIES OF THE GOTHIC-RENAISSANCE TRANSITION
+
+
+The fifteenth century saw Gothic tapestries carried to their highest
+point of perfection. Bruges had become a centre of pictorial art next
+only to Italy. Memling, the Van Eycks, and Bernard Van Orley were giving
+life, freedom, and originality to the old stilted Gothic forms in
+painting, and it was to them that the art of tapestry weaving owed its
+greatest debt.
+
+But to the Flemish weavers themselves no small part of the artistic
+merit of the Gothic tapestries is to be ascribed. The master-weaver was
+an artist, not a craftsman. To him the designer left many details of
+design; he was at liberty to alter cartoons that could not be
+satisfactorily translated into tapestry, to choose colourings, even to
+introduce new figures into the picture. In the fifteenth century the
+_tapissiers_ were still conscientious, refusing to hurry their work to
+the detriment of its quality. Artist and _tapissier_ alike, now perfect
+masters of the art, spent their time perfecting the methods that had
+made the name of Flemish tapestry in the preceding century. The
+tapestries described in the following pages belong to this period, just
+before the spirit of the Italian Renaissance completely banished the old
+native forms of art from the north of Europe. The first cartoons of
+Raphael were still to come to the Flemish workshops, but already men
+were talking of the wonders of Italy, and certain signs of transition
+are strongly marked in the tapestries with which we are dealing. In many
+the Gothic architecture of the background has given way to Renaissance,
+and the sky-line has been lowered. Or sometimes while the background
+remains under the Gothic inspiration, the treatment of the figures, more
+especially of the robes, shows the Renaissance influence. The chief
+characteristics that distinguish these tapestries from the earlier
+Gothic are the greater freedom in the attitudes of the figures, the
+perfection of detail, and the absence of exaggeration, particularly in
+the patterns of fabrics and of dress ornaments.
+
+
+GROUP 4. _The Story of St. John the Baptist_
+
+Date and origin uncertain, but evidently belong to the transition
+period. The figures show the realism and elegance of the Italian
+painters, while the buildings in the background are Gothic. The
+tapestries show different episodes in the life of the Saint. The
+similarity of their exquisitely woven borders suggests that they belong
+to the same series. They are woven in fine wool, silk, gold, and silver.
+The subjects are as follows:
+
+(1) Visit of the Holy Virgin to her cousin Elizabeth. Zaccharius
+recovers his speech.
+
+(2) The child John asks permission to devote himself to God.
+
+(3) St. John, asked by the Pharisee if he is the Christ, replies:
+“Behold the Lamb of God.”
+
+(4) He baptizes Jesus and many others. End of the reign of the Jews.
+
+
+GROUP 5. _The Passion of Our Lord_ (2 Episodes)
+
+These two tapestries, richly woven in gold, silk, and wool, were made by
+command of Princess Margaret of Austria, the Regent of the Netherlands.
+These were inherited by her nephew Charles V. They are mentioned in an
+inventory that Margaret caused to be made in 1525, five years before her
+death.
+
+The designer of the cartoons is unknown. The background is Gothic, but
+the figures show Italian influence.
+
+_Tapestry No. 1._ Christ bearing the Cross on His way to Calvary meets
+St. Veronica, who receives the sacred imprint on her handkerchief.
+
+_Tapestry No. 2._ The Descent from the Cross.
+
+
+GROUP 6. _Moralities_ (4 Tapestries)
+
+These belong to the end of the fifteenth or the beginning of the
+sixteenth century, and were inspired by the preaching of the Reformers.
+
+The first three tapestries of the group are the sole remaining pieces
+from an older series executed during the transition from the older
+Gothic style to the new style of the Italian Renaissance. Their exact
+date is unknown. They were bought by the Princess Marie of Portugal as
+part of her dowry on her marriage with Philip II. They are enriched by
+gold threads.
+
+The fourth tapestry in this group is the only surviving specimen of
+another older series.
+
+
+_St. Jerome_
+
+Dates from the middle of the sixteenth century. Woven in gold, silk, and
+wool on high warp. In possession of Philip II of Spain when inventory
+was made in 1598. The plate represents the penance of St. Jerome.
+
+
+GROUP 7. _Dais of Emperor Charles V_ (3 Tapestries)
+
+These tapestries of silk, gold, and wool were made by command of the
+Regent Margaret of Austria, at Brussels, under the direction of Pierre
+Pannemaker, the most famous _tapissier_ of the time. The cartoons were
+probably by the aged painter Quintin Metoys. The tapestries were begun
+in 1523, and passed to the Emperor on the death of Margaret.
+
+_Tapestry No. 1._ The bed canopy represents the Eternal Father and the
+Holy Ghost surrounded by Seraphim.
+
+_Tapestry No. 2._ The Redemption of mankind from the taint of original
+sin.
+
+_Tapestry No. 3._ Formed the lower part of the dais, and depicts St.
+Luke xxiv. 50, 51.
+
+
+GROUP 8. _The Passion of Our Lord_ (4 Tapestries)
+
+These four tapestries were woven by Pierre Pannemaker from the designs
+of Quintin Metoys at the command of Margaret of Austria. They are good
+examples of the transition style, and some fine effects of tinting have
+been obtained by means of hatching (i.e. the use of vertical lines to
+give thickness to the figures). The influence of Roger Van der Weyden is
+plain.
+
+These tapestries were inherited by Charles V from Margaret of Austria,
+and have been much used for State functions.
+
+_Tapestry No. 1._ Represents the prayer on the Mount of Olives.
+
+_Tapestry No. 2._ Meeting between Our Lord and the Virgin on the road to
+Calvary.
+
+_Tapestry No. 3._ The Crucifixion.
+
+_Tapestry No. 4._ The Descent from the Cross.
+
+
+GROUP 9. _Vices and Virtues_ (9 Tapestries)
+
+These tapestries were probably executed at Brussels in the first half of
+the sixteenth century. They are woven in silk, gold thread, and wool,
+cover a surface of 400 square metres, and include a thousand figures.
+
+Though much in the style of Bernard van Orley, the absence of the rich
+Renaissance architecture in which that painter delighted suggests that
+either Jean Gossaert or Quintin Metoys was more likely the designer.
+There is no weaver’s mark on the tapestry. A reproduction must have been
+made in wool and silk, as one piece representing the Punishment of Vice
+was exhibited in Bruges by the Prince of Aremberg. The series is
+mentioned in the inventory of Charles V, dated Brussels, 1544, and was
+alleged to have been purchased in Seville.
+
+The excellence of the tapestries is mostly due to the _tapissiers_. The
+overcrowded canvases, the painfully didactic and tortuous morals, do not
+rank the designs very high. That labelled “Infamy” gives a key to the
+complicated moral problem. The beholder is urged in a pompous and wordy
+harangue to follow reason and the philosophers, so shall no evil befall
+him. The different pieces represent respectively, Faith, Honour, Renown,
+Nobility, Fortune, Infancy, Prudence, Vice, and Justice.
+
+
+GROUP 10. _The Foundation of Rome_ (6 Tapestries)
+
+A fine example of Flemish tapestry probably executed from cartoons by
+Bernard van Orley, the pupil of Raphael. The Italian influence is
+strong, yet the tapestry is hardly pure Renaissance. There is no
+weaver’s mark, so the series must date prior to 1528. The tapestries are
+remarkable for their fine landscapes, the magnificence of the buildings,
+and the elegance of the costumes. The borders are of beautiful design
+and workmanship.
+
+_Tapestry No. 1._ Shows Romulus and Remus thrown into the Tiber. They
+are suckled by a she-wolf and grow up to be clever hunters and cunning
+thieves.
+
+_Tapestry No. 2._ Remus, taken captive, is presented to Amielius, who is
+killed by the brothers. Numitor is placed on the throne.
+
+_Tapestry No. 3._ The brothers trace out the foundations of Rome with a
+plough. Romulus becomes king, gives his name to the city, and kills his
+brother.
+
+_Tapestry No. 4._ Romulus proclaims a fête to Neptune, to attract young
+girls from neighbouring districts.
+
+_Tapestry No. 5._ The rape of the Sabine women. Hersilia is presented to
+Romulus. The Sabine parents retire disconsolate.
+
+_Tapestry No. 6._ Romulus gives laws to the people. He establishes the
+twelve lictors, summons the Senate, and builds a temple.
+
+
+GROUP II. _The Conquest of Tunis_ (12 Tapestries)
+
+This series of tapestries, besides being of peculiar historical
+importance, is one of the very finest examples of the perfected
+Gothic-Renaissance school, and is worth noticing in much fuller detail
+than any others of the collection. Designed by Jan Vermay, or Vermeyen,
+and woven by Wilhelm Pannemaker, it was directly inspired by Charles
+himself, who determined to leave to posterity this magnificent record of
+an expedition of the success of which he can have felt no doubt.
+Vermeyen was commanded to accompany the Emperor, so that on the actual
+battlefield he might reproduce in pencil the stirring scenes that passed
+before his eyes.
+
+Detailed instructions were given to the artist as to the manner in which
+his cartoons were to be designed. He bound himself to submit small
+sketches for Charles’ approval, to carry out any alterations and
+suggestions made by his patron, and finally to reproduce them “in the
+best and most vivid colours,” in the size that was required for the
+actual tapestries. The Emperor agreed to pay for them the sum of 1800
+florins, a considerable amount according to the standards of the time.
+
+To Wilhelm Pannemaker, the famous Flemish weaver, was entrusted the
+weaving of the tapestries. Determined that neither poverty of material
+nor careless workmanship should spoil the precious webs, Charles and his
+sister Mary of Hungary bound Pannemaker by a stringent contract, wherein
+the amount and quality of silk, and the number and value of the gold and
+silver threads were distinctly specified. The gold was to come from
+Milan, the silk from Granada. The finest wool was also commanded and the
+richest dyes. In order that the slow process of tapestry weaving might
+be expedited as much as possible, Pannemaker was to have seven men
+working at each tapestry. Each piece as it was finished was to be
+scrutinized by experts, whose corrections Pannemaker bound himself to
+follow, even if it should necessitate remaking the whole piece. The
+dyeing of the silk and wool required was specially undertaken in an
+unusual range of colours. We find a certain Louis Chausset, complaining
+that he had lost 160 pounds of fine silk that were spoilt while being
+tinted blue.
+
+After the last alterations had been made the tapestries were declared
+definitely to be completed on April 21, 1554. They were sent to England
+to be exhibited at the wedding of Philip and Mary, and afterwards
+conducted with the utmost care back to Spain. For some time they were
+shown constantly at all great Court functions till the Emperor, fearful
+of the result of such constant wear, ordered a smaller set to be
+prepared. In 1740 Philip V had another reproduction made of the same
+size as the originals. Yet another copy exists in the Museum at Vienna.
+This was made by the Austrians who, when they succeeded the Spaniards,
+discovered the first ten cartoons and purchased them. Another tapestry
+was woven by Pannemaker that combined the subjects of Nos. 7 and 8 in
+this series. This was found by the Maréchal de Contades in a castle near
+Mechlin during the Seven Years’ War between France and Germany.
+
+
+THE EXPEDITION AGAINST TUNIS
+
+On the death of Mohammed the Hafsite in 1525, Khain-ad-Din Barbarossa
+took advantage of a dispute over the succession, to occupy Algiers in
+the name of the Sultan of Constantinople. The wars in Italy gave him the
+opportunity of consolidating his territories in the north of Africa,
+where he succeeded in establishing his dominion firmly, making Algiers
+his capital. At the end of the second Italian war Barbarossa swooped
+down on a small island in the possession of the Spaniards, and connected
+it with the mainland. From this stronghold he planned a series of
+brilliant coups that made him a serious menace to the kingdom of Naples
+and Sicily. He attacked and overthrew the native Tunisian dynasty under
+the pretence of restoring the rightful ruler, made himself master of
+this city as he had done of Algiers, and pushed his successes far into
+the interior. The menace was not lost upon Charles V. Availing himself
+of the plea for help urged by Al-Hasan, the son of Mohammed, the Emperor
+decided upon the conquest of Tunis and set sail from Barcelona on May
+30, 1535.
+
+Never was any expedition more popular. The Spanish people swarmed into
+Barcelona to bid God-speed to the departing fleet. At Cagliari Charles
+was joined by Doria with a company of German and Italian troops, galleys
+from Sicily and southern Italy, and a number of Knights Hospitallers
+enrolled to attack the infidel.
+
+Goletta was selected as the first point of attack, so that the way might
+be cleared to Tunis. After a desperate siege the fortress fell into
+Charles’s hands, together with the whole corsair fleet of eighty-two
+galleys. Still the attack on Tunis seemed fraught with too much danger,
+and much against his will Charles decided to re-embark. At the last
+moment, however, bolder counsels prevailed. The army was hastily formed
+into advance-guard and rear-guard and started on its twelve-mile march
+to Tunis.
+
+Charles’s army certainly laboured under grave disadvantages. Their guns
+had all to be dragged by hand; there were provisions for only five days.
+Between olive groves and the lagoons they moved with a front of but one
+thousand paces. The groves gave cover to the corsair chief as he moved
+to outflank the Emperor’s troops. But in appalling heat the Spaniards
+marched steadily forward. Barbarossa made two desperate attacks, but the
+Spanish troops stood their ground. The second encounter resulted in
+total defeat for the Moors and Turks, who recoiled before the deadly
+fire of the Christians. Turning to re-enter the fortress of Tunis,
+Barbarossa found it held by the Christian slaves who had risen against
+him. Tunis was captured, and a heavy blow struck at the power and
+prestige of the Turk.
+
+A projected attack on Algiers had to be abandoned owing to the advancing
+season. Bona and Biserta, however, were secured, and these together with
+Goletta were retained by the Spaniards. Tunis itself Charles restored to
+its one-time ruler, Al-Hassan, who had joined his army in time for the
+march to the capital.
+
+The result of this expedition was peculiarly fortunate for Charles. His
+reputation as a daring and successful soldier was established; Naples
+and Sicily looked on him as their saviour. All Europe admired the skill
+with which he had disposed of the natural ally of the French and
+checkmated Francis before that astute sovereign’s plans of attack had
+matured.
+
+Jan Vermay, or Vermeyen, the Flemish painter, chosen by Charles to
+accompany him on his expedition to Tunis, was one of the best-known
+artists of the first half of the sixteenth century. As Court painter
+under Margaret of Austria he executed portraits of the Emperor and of
+every one of importance at the Court, which were sent as gifts to the
+different sovereigns of Europe. Later he became the special protégé of
+Mary of Hungary, and afterwards of Charles himself.
+
+
+THE TAPESTRIES
+
+Each tapestry has an explanatory legend in Spanish at the top, and a
+supplementary legend in Latin underneath. Translations of these have
+been made for the first time by the Conde Valencia de Don Juan.
+
+_Tapestry No. 1._ Shows a map of the shore of the Mediterranean, where
+Charles embarked his army, and the opposite coasts of Africa. The
+translation of the upper legend reads: “The Conqueror, wishing to
+overcome the infidel armies of the Turk and the warrior who, obeying the
+orders of Soliman, raises cruel wars against the realms of Spain,
+Charles, the fifth of that name, with the blessing of heaven, gathers
+together the armies and fleets of Spain and Italy to threaten the
+African troops. He who knows not the meaning of delay, sails with his
+loyal companions.” On the right the figure of Vermeyen upholds a chart
+bearing the following curious inscription: “The conquest of Charles,
+Emperor of the Romans, the fifth of that name, and first of the kings
+of Spain, in Africa in 1535 had serious causes that the chronicles of
+the time recount more fully in their histories. These causes being left
+on one side, to this work is represented as exactly as possible the
+course of events.” Since for a clear understanding it is necessary to
+know the country where the events took place and what preparations had
+been made, the action is treated in this tapestry according to nature
+(all that concerns the cosmography leaving nothing to be desired). In
+the distance the coasts of Africa (like those of Europe and its
+boundaries) are seen with their chief ports, their broad gulfs, their
+islands, their winds at exactly the same distances at which they really
+lie (the author having taken much more care over their precise situation
+than over the accuracy of the painting). As all has been done--as also
+with the countries--in strict accordance with cosmography, and the
+painter has observed the canons of his art, considering that the
+spectator views it from Barcelona, where the embarkation for Tunis
+began. This last town lies between the spectator and the Midi, leaving
+the north behind, above the right shoulder. Accuracy being thus
+established, the peculiarities of the other tapestries can be better
+understood.
+
+_Tapestry No. 2._ The upper legend declares that this piece represents
+“the arrival of the Emperor at Barcelona with his army: the magnificence
+of his brilliant body-guard, formed of gentlemen of his household and of
+his Court, who accompanied him to share the dangers of the campaign:
+included in his company are the Infante Louis, his half-brother, and
+many other Portuguese gentlemen who formed part of the troops for the
+expedition.”
+
+The lower scroll bears the following inscription: “The Conqueror leaves
+the outskirts of Madrid and the dwelling of his ancestors, and halts in
+the smiling county of Barcelona. He reviews the army and singles out the
+noblemen and knights. He vows at the moment of embarkation that in
+crossing the ocean (leaving behind him the waves of the Balearic and
+Sardinian Seas) that the fleet can come together in the place commanded.
+He embarks with him the Germans, the Italian army, and the battalions of
+Spanish veterans, and lands them on the African coast.”
+
+_Tapestry No. 3._ According to the upper scroll this tapestry treats of
+“the arrival of the Emperor and his galleys at old Carthage, and the
+reconnaissance of Goletta (where several cannon shots were fired). On
+June 16 the Conqueror disembarks with his body-guard and 12,000
+infantry, and takes three positions. He attacks the towers of Water and
+of Salt; the Spanish arquebusiers, under the order of the Marquis del
+Vasto, draw on the enemy, who lose several men.”
+
+The lower inscription reads: “Here they enter the port of Utica; ancient
+Carthage receives them in her ruins. The fleet sails along the coast.
+Thence the Conqueror goes with a small body-guard to explore Goletta and
+to spy out its fortifications and situation. After having given the
+order to the troops to disembark they light-heartedly attack the enemy,
+who retreat. They pitch the camp beside the walls of what was once
+Carthage the illustrious, and is to-day a village of poor cottages.” A
+further inscription in the border reads: “This third piece must be
+looked at from the place where the fleet is cruising along the coasts
+from Porto Farina to the head of the promontory of Carthage; the north
+is to the left side above the right shoulder.”
+
+_Tapestry No. 4._ The upper inscription explains that “during the
+landing of the rest of the army several skirmishes take place until the
+Emperor orders the body of the army to descend into the plain to besiege
+Goletta.” The Marquis del Vasto sends reinforcements with which they try
+(without success) to surprise the enemy. The whole army being reunited,
+the Turks, a few days after, try to gain an advantage from a violent
+wind which arose, throwing sand with shovels and other instruments to
+blind their enemies. But the wind suddenly falling, the Turks surrounded
+by our arquebusiers were obliged to fall back to Goletta.
+
+The Latin inscription at the foot reads: “Charles strikes the camp, and
+when the army is already on the march the enemy attack the rear-guard
+and harass their movements. The army faces round, and the enemy nearly
+surrounded in a dangerous place, retreat. A violent wind arises, raising
+whirlwinds of sand; our men are blinded by the dust. The enemy, full of
+craft, appear again, throwing sand at our soldiers, and thus fighting as
+much with dust as with arms; but when the wind falls they are repulsed.”
+
+The inscription in the right-hand border instructs us to look from the
+promontory to the camp and stop at the Water Tower, leaving the lagoon
+on the right-hand and taking the north, on the same side.
+
+_Tapestry No. 5._ The upper inscription describes “a sortie of Turks
+from Goletta, and the killing of several Italian soldiers; a new sortie
+of the Turks killing the Marquis de Final, an Italian colonel: the
+arrival of Muley Hassan, King of Tunis, with 400 cavalry: the serious
+skirmish in which the Marquis de Mondejas receives a blow from a lance:
+the help brought by the Emperor: the flight of the enemy, losing part of
+their artillery.”
+
+The lower inscription reads: “The Turks make a sortie and repulse the
+Italian advance-guard, whose leader is made prisoner; they take the
+_tranchées_, but repulsed by the Spanish, they retire. Finally, counting
+on the darkness of the night, they attack the Spaniards and force them
+to abandon their _tranchées_; attacked in their turn, they are forced to
+retire again. The king Hassan arrives, followed by a small body-guard.
+The Marquis Louis, wounded, retires from the combat. Charles V arrives
+with help when the soldiers are already in distress; he repulses the
+enemy and takes their artillery.”
+
+We are instructed to look at this tapestry “as though we were at the
+towers of Water and of Salt opposite Goletta, having the sea and the
+north on the left-hand, and the lagoon on the right.”
+
+_Tapestry No. 7._ Represents the taking of Goletta: “Twenty thousand
+Turks charge to take the tower of the promontory of Carthage, defended
+by 26,000 Spaniards, protected by the Emperor with the Germans and new
+Spanish troops. On land Goletta fights with 11 cannons; by sea 9
+galleys, commanded by the Prince Doria, are supported by the galleon and
+the carabels of the Portuguese, commanded by the Infante Louis. Goletta
+is defended by 6000 Turks and 2000 Moors, with more than 400 guns. At
+the attack, directed from the sea, there are 4000 soldiers of the
+battalions of Spanish veterans, and in that, directed from the coast of
+the lagoon, as many Italians and 2000 Germans. At the assault of
+Goletta, 2000 Turks and Moors are killed, and about 100 of our men, dead
+or wounded, are put out of action. The fleet commanded by Barbarossa is
+taken also.”
+
+The Latin text relates that “the garrison defending the Cape finds
+itself threatened by an attack of the Africans. The Conqueror comes to
+the rescue and repulses the assailants. Goletta is attacked by land and
+sea; the enemy fights with arrows. Part of the wall, already undermined,
+falls where the fight is fiercest. The Spanish troops enter first into
+the breach; this being taken, they slay or put to flight the defenders,
+while Charles deals with another section of the enemy.”
+
+This piece is to be regarded “from the lagoon, with Tunis on the left
+hand, the promontory of Carthage on the right, and the north behind to
+the right.”
+
+_Tapestry No. 8._ The original of this tapestry was lost during the
+eighteenth century, shortly after the reproduction of the Tunis series
+was undertaken at the command of Philip V. This represented the march
+against Tunis of the Emperor and his troops, and the victory gained at
+Los over Barbarossa, where 600 of the enemy were slain.
+
+_Tapestry No. 9._ The upper inscription of this tapestry reads: “After
+having scattered the enemy’s army and put to flight the captain,
+Barbarossa, the Emperor, with his troops, advances on Tunis and occupies
+the outskirts of the town. The Christians, held captive in the fortress,
+rise and demand aid from the Marquis de Vasto. The place is taken and
+the Emperor allows it to be sacked.” The Latin legend adds the following
+details about the slaves: “Undermining the walls and breaking down the
+doors, they have, with God’s help, abandoned their prison. Having
+defeated the garrison they make themselves masters of the citadel and
+implore help from the avenger, Charles. Haradin flies the town.”
+
+The inscription in the border directs us that “we are looking towards
+the lagoon, with Tunis in front, Goletta and the north behind.”
+
+_Tapestry No. 10._ This represents “the sack of Tunis, hostilities
+against those who offer resistance, and the imprisonment of a great
+number of the enemy. The Conqueror delivers over the town to the King of
+Tunis, who remains a vassal of the Emperor.”
+
+The Latin text reads: “The troops sent against the outskirts of the town
+lay siege to and take them, slaughter the enemy’s army, take the houses
+and spare the inhabitants; as to the remainder, they use the rights of
+conquest. More than 20,000 captives recover their liberty and salute,
+with cries of gratitude, Charles the avenger. The Conqueror
+re-establishes on the throne of his ancestors the unfortunate Hassan,
+though he hardly merited this, since he had promised much and performed
+little.”
+
+_Tapestry No. 11._ This tapestry shared the fate of No. 8, being lost
+during the eighteenth century. From the reproduction we find that it
+represented the return of the army to Rada after the occupation of
+Tunis, which lasted eight days. “The Emperor orders the Moors to bring
+back their wives and children, and to bring the clothes taken by the
+soldiers during the sack. In order to be recognized they are to carry on
+their heads branches of olive. He also orders them to furnish the
+Christians with the recovered vessels, so that they may return to their
+respective countries.”
+
+_Tapestry No. 12._ According to the upper inscription this deals with
+“the return of the Emperor from Rada to Goletta: the encamping of the
+army in the old place: the arrival of the King of Tunis to sign the
+capitulation forcing him to be a tributary of the Emperor and his
+successors: Goletta which he wishes to fortify, over which he sets
+Bernardin de Mendoza as ruler, with 1000 Spaniards: the embarking of the
+army towards the middle of the month of August: the departure of the
+Infante Louis with the Portuguese fleet: that of the Marquis de
+Mondejer: the vessels that accompanied him: departure of Don Alvano de
+Bazan with the Spanish galleys: that of the Germans and the Italians for
+their respective countries, and finally that of the Emperor with the
+galleys of the Prince Doria.”
+
+The Latin inscription is merely a résumé of the Spanish one.
+
+This tapestry is to be looked at with Goletta and the Cape of Carthage
+in front, Tunis on the left hand, the sea and the north to the right.
+
+
+GROUP 12. _The Last Supper_ (1 Tapestry)
+
+Woven from a design almost certainly of Bernard van Orley, the pupil of
+Raphael, by Pierre Pannemaker at Brussels, in wool, silk, gold, and
+silver. Purchased by Charles V at 38 florins--a higher price than that
+generally paid for the same class of work. The tapestry was given by the
+Emperor to his wife, and is considered one of the finest religious
+pieces in the royal collection. It is used on Holy Thursdays to decorate
+the famous Hall of Columns in the Palace, when the ceremony of the
+Washing of Feet and the dinner to the poor take place.
+
+
+GROUP 13. _The Descent of the Holy Ghost_ (1 Tapestry)
+
+This tapestry is woven in silk and wool enriched with gold and silver
+threads. Neither the designer nor the _tapissier_ are known, but from
+the type of features represented, Count Valencia de Don Juan conjectures
+that the artist was of Flemish blood. It is first mentioned in the
+inventory made on the death of Charles II. The subject of the piece is
+taken from Acts ii. 1-4
+
+
+GROUP 14. _The Adoration of the Kings_ (1 Tapestry)
+
+This is one of the finest of the religious tapestries in the collection
+and was a particular favourite of the Emperor Charles V, who took it
+with him on his retirement to Yuste. Both the design and workmanship are
+Flemish, but the influence of the Italian school is perceptible. The
+usual materials are employed--silk, wool, gold, and silver threads.
+
+The border is particularly fine with its wealth of flowers, birds, and
+fruits. At each corner is shown a medallion representing a scene from
+the life of Christ.
+
+
+GROUP 15. _The Story of Abraham_ (7 Tapestries)
+
+These tapestries are attributed by Wauters to Wilhelm Pannemaker. Though
+modified by Italian ideas the design is in the Flemish style. Woven in
+silk and wool they were the property of the Princess Juana, the daughter
+of Charles V. They show the characteristic determination of Gothic
+_tapissiers_ to “tell the story” from beginning to end, from the time
+that Abraham first leaves his country to journey into the land of
+Canaan, to his death.
+
+
+GROUP 16. _The Apocalypse_ (8 Tapestries)
+
+The Revelations of St. John were a favourite subject with the mediæval
+_tapissier_, yet strange to say there are few complete series remaining.
+In the Cathedral at Angers is a series of sixty-seven pieces made in
+1377 by Nicolas Bataille for Louis I of Anjou. A little later two other
+series on the same subject were executed at Arras, one being destined
+for Philip the Good. In time this came into the possession of Charles V,
+and is mentioned in the Inventory of 1536. No further mention, however,
+is made of this tapestry in any Spanish documents, and Pinchart
+conjectures that it was probably lost in the fire that destroyed the
+Palace of Brussels in 1731.
+
+The series included in this collection was made by Wilhelm Pannemaker,
+and purchased by Philip II. We find the following paragraph in the
+discharge of the Treasurer-General in the year 1562:
+
+“To Wilhelm Pannemaker, tapestry maker, who came from Flanders to bring
+the Tapestry of the Apocalypse made for the service of H.M., sixty
+thousand _maravedi_ which H.M. pays him all at once for the expenses of
+his journey (from his own country whither he returns), as witness the
+command of H.M., the 31st December, 1561. The said tapestry maker has
+received the money the 31st of the said month.”
+
+The tapestries are fine specimens woven in silk, wool, and gold thread.
+M. Ouiffrey attributes the cartoons to Albert Dürer, but the Count
+Valencia de Don Juan prefers to regard them as by an unknown artist
+working under the influence of Dürer and Jean de Bruges. The designs are
+very beautiful, more especially the borders, which are little
+masterpieces of grace and elegance. The plates are explained by short
+Latin legends in the middle of the upper border.
+
+_Tapestry No. 1._ “St. John writes a true description of his vision to
+the Bishop of the Seven Churches of Asia. He moralizes and instructs
+them.”
+
+_Tapestry No. 2._ “This great mystery illuminated by Divine Grace and
+manifested in Christ the Saviour of Mankind. Those who have been made
+pure by His Blood shall remain strong and shall not be turned from the
+Holy way by the whirlwind.”
+
+_Tapestry No. 3._ “The Gospel spreads through the world as to the sound
+of trumpets. The Apostolic dogma and holy doctrine resounds in the
+Temple, drives back sin, and plants a true love of the faith in every
+spirit.”
+
+_Tapestry No. 4._ “The fruits of virtue, precious for their works,
+encourage the multitude of the elect; that which is watched over by the
+jealous enemy is destroyed by the help of angels.”
+
+_Tapestry No. 5._ “Jealousy never attains the peace of virtue;
+nevertheless the latter shall be oppressed till the end of the world.
+Certain hope and the faith of the strong never fail, though the ungodly
+mock those who live in the fear of God.”
+
+_Tapestry No. 6._ “Anger shall be turned against the reproved, and the
+anger of God shall oppress sinners. Those who repent not shall suffer
+death and eternal fire as a punishment for their wickedness.”
+
+_Tapestry No. 7._ “The day of Antichrist shall come and shall provoke
+the last war against faith. Babylon shall be conquered and destroyed,
+and her lost sons shall suffer eternal punishment with her.”
+
+_Tapestry No. 8._ “On the day of the Last Judgment, the devil shall be
+shut up in the abyss, and the choir of saints shall sing praises unto
+God. The victorious Church shall receive her just reward, and filled
+with gladness shall enjoy for ever the Kingdom of Heaven.”
+
+
+GROUP 17. _The Seven Deadly Sins_ (2 Series)
+
+This favourite mediæval subject is depicted in two series of tapestries
+in the possession of Philip II of Spain. Both series are woven in silk
+and wool, picked out with gold and silver threads. Neither, however,
+remains complete. The name of the designer of the cartoons is not known.
+It may probably have been Bernard van Orley. The general design is
+markedly Flemish, but the Renaissance influence is evident in the
+treatment of some of the figures, and more particularly in the borders.
+These show delicate imagination, exquisite workmanship, and exuberance
+of detail, and are adorned with a wealth of flowers and fruits, and tiny
+elves.
+
+
+_1st Series_ (6 Tapestries)
+
+This series was probably made either for Margaret of Austria or Mary of
+Hungary. It was used to decorate the monastery of Guadelupe, at the
+interview in 1575 between Philip II and Sebastian of Portugal. Each
+tapestry is explained by a Latin text on the upper border. The sins
+represented are Avarice, Luxury, Anger, Greed, Envy, and Laziness.
+
+
+_2nd Series_ (4 Tapestries)
+
+These tapestries are attributed to Pannemaker. Pinchart states that they
+were taken from the Count of Egmont’s collection and sent to the Spanish
+Court by the Duke of Alba, when the first-mentioned nobleman was
+sentenced to death as a rebel in 1567.
+
+The pieces now remaining represent Pride, Luxury, Greed, and Laziness.
+The other three tapestries were still in existence in 1660 and were used
+at the marriage of the Infanta Maria-Theresa and Louis XIV.
+
+
+
+
+CHAPTER V
+
+RENAISSANCE TAPESTRIES
+
+
+The date of the beginning of the Renaissance tapestries is well defined.
+In 1515 came the order to Brussels to execute tapestries of _The Acts of
+the Apostles_ from the cartoons of Raphael. The Pope required them for
+the Sistine Chapel. This was the beginning of the decline of the art of
+Flemish tapestry weaving.
+
+Raphael was not accustomed to designing cartoons for tapestry. His
+methods were unsuitable for translation into fabric. He set the
+_tapissiere_ problems to solve in paint. Only the wonderful skill of the
+Flemish workmen enabled them to produce tapestries that astonished
+Europe. But a new method had to be adopted. Raphael had planned out both
+his cartoons and his borders in every detail. Nothing was left to the
+_tapissier_ but to copy with the minutest care every line, every shade
+of colour expressed by the painter. The artist _tapissier_ became under
+this new fashion only a master craftsman. The most pleasing feature of
+the Gothic tapestries disappear--the riot of _millefleurs_, and the
+spasmodic intrusion of fascinating little dogs and wild animals.
+
+But if there were losses there were compensating gains. The whole art of
+the Italian cartoonist was freer, more vital and less stilted than that
+of his northern neighbour. The crowded figures disappeared and their
+place was taken by one group accompanied only by a few subordinate
+figures, but the central figures were perfect in their form. The Gothic
+buildings of the background gave way to a rich Renaissance architecture.
+The old woodland flowers were replaced by the luxuriant and exotic
+verdure of the south. That the methods introduced by Raphael should
+degenerate in the hands of artists of less genius was inevitable, and in
+course of time the _tapissier_ was no longer capable of improving the
+original design.
+
+
+GROUP 18. _The Acts of the Apostles_ (10 Tapestries)
+
+These tapestries are not the original ones woven for Pope Leo X, but are
+reproductions which (from the absence of any tapestry mark) must have
+been woven from the original cartoons within a very short space of time.
+These cartoons, as has been said, were the work of Raphael Santi
+assisted by his pupils. The original tapestries were executed by Pierre
+van Aelst in gold, silk, and wool, under the supervision of Bernard van
+Orley, who had been the pupil of the great Italian painter. They were
+painted in 1519. Pierre van Aelst had been tapestry maker to Philip le
+Bel and Charles V., and was probably the foremost weaver of his time in
+Brussels. More than one reproduction was made, and it is probable that
+one fell into the hands of the Emperor Charles. They are not mentioned,
+however, before the inventories made by Philip II. The tenth piece in
+the original series is not found in this collection on account of its
+size, and may not have been included in the reproduction. A similar
+series was in the possession of Henry VIII. of England and was bought at
+the sale of Charles I.’s effects by Marquis del Carpio. It was inherited
+by the house of Alba in 1662, and sold in 1823 to the English Consul in
+Catalonia. George IV. refused to purchase it and it finally reached the
+Berlin Museum.
+
+For a time the cartoons of Raphael were lost. Seven of them, however,
+were purchased by Charles I. on the advice of Rubens and ordered to be
+reproduced at Mortlake. The cartoons are now in the South Kensington
+Museum.
+
+The tapestries represent the following subjects:
+
+_Tapestry No. 1._ The miraculous draught of fishes.
+
+_Tapestry No. 2._ St. Peter chosen by Christ as the head of the Church.
+
+_Tapestry No. 3._ The miracle of the paralytic.
+
+_Tapestry No. 4._ The death of Ananias.
+
+_Tapestry No. 5._ The death of St. Stephen.
+
+_Tapestry No. 6._ The conversion of St. Paul.
+
+_Tapestry No. 7._ The blindness of Elymas.
+
+_Tapestry No. 8._ St. Paul and St. Barnabas at Lystra.
+
+_Tapestry No. 9._ St. Paul preaches at the Areopagus in Athens.
+
+
+GROUP 19. _Vertumnus and Pomona_ (6 Tapestries)
+
+Despite an occasional lapse in drawing, this series of tapestries is one
+of the finest examples of pure Renaissance workmanship to be found in
+the Spanish royal collection. The story, of course, is taken from Ovid,
+and was a favourite one with the Flemish weavers. The tapestries show
+the true Renaissance love of the open country and lovely gardens with a
+wealth of flowers and foliage. They are purely decorative in intention,
+and the figures are merely accessory.
+
+No less than four copies of this series are in the Madrid collection.
+The series reproduced in this volume was woven at Brussels and purchased
+by the Emperor Charles V. at Anvers in 1546. It is in silk and wool,
+heavily enriched with gold, and was the original from which the others
+were copied.
+
+Two other copies, also woven in gold, were made by Pannemaker at the
+command of Philip II. These are hung in the State dining-hall of the
+palace. The fourth copy, in silk and wool only, was made for John of
+Austria, and by him bequeathed to Philip II.
+
+
+_The Story of Scipio Africanus_ (6 Tapestries)
+
+This fine series of tapestries offers an interesting contrast with the
+other historical series already described, _The Conquest of Tunis_. The
+story of Scipio is in pure Renaissance style, and though the designer of
+the cartoons is unknown, they show very strongly the influence of Giulio
+Romano, and may even have proceeded from his pencil. Only one piece of
+the tapestry bears a weaver’s mark, which has not been deciphered. They
+were inherited by Charles V. from his sister, Mary of Hungary, on her
+death in 1558.
+
+The tapestries represent incidents in the life of Publius Cornelius
+Scipio, the elder, surnamed Africanus from his triumphs against the
+Carthaginians. Scipio was one of Rome’s greatest generals, and also a
+man of very considerable culture, who wrote his own memoirs in Greek. He
+was also an accomplished orator and was popularly supposed to hold
+direct communication with the gods.
+
+The tapestries deal mostly with Scipio’s campaigns in Spain and Africa.
+The year after his father’s death he had offered himself for the command
+in Spain. In spite of his youth he was unanimously elected. He had
+previously fought at the disastrous battles of Ticinus, the Trebia, and
+Cannæ.
+
+All Spain south of the Ebro was in the hands of the Carthaginians, but
+the three great Punic generals were preoccupied with revolts in Africa
+and were in disagreement amongst themselves. Taking advantage of this,
+Scipio unexpectedly attacked and captured New Carthage, a large supply
+of war materials falling into his hands. This victory he followed up in
+209 B.C. by driving Hasdrubal from Barcelona and the upper Guadalquivir.
+
+After further victories in Spain Scipio returned to Rome and was elected
+Consul for Sicily. In 204 B.C. he again sailed for Africa and landed
+near Utica. He destroyed two combined armies of the Carthaginians and
+the Numidians, and after peace negotiations were finally broken off
+gained a crushing victory over Hannibal near Zama. This gained him the
+surname of Africanus.
+
+Some years later Scipio was charged together with his brother with
+peculation. On the day of his trial, however, by reminding the people
+that this was the anniversary of Zama he was acquitted amid great
+acclamations. He then retired into private life.
+
+The tapestries represent:
+
+_Tapestry No. 1._ Siege and assault of Carthage by Scipio Africanus.
+
+_Tapestry No. 2._ Scipio gives up his betrothed.
+
+_Tapestry No. 3._ The Romans penetrate into the camp of Hasdrubal.
+
+_Tapestry No. 4._ Battle of Zama and defeat of Hannibal.
+
+_Tapestry No. 5._ The triumph of Scipio.
+
+_Tapestry No. 6._ The banquet.
+
+
+_Monkeys or Grotesque Figures_ (10 Tapestries)
+
+These fine Flemish tapestries were added to the royal collection at
+Madrid by Philip II. They are of exquisite workmanship and are heavily
+enriched with threads of gold. There are ten pieces in the series, four
+of which being hung on the walls of the palace cannot be here
+reproduced.
+
+These grotesque figures form an ideal tapestry design. “In the centre of
+each tapestry,” says the Count Valencia de Don Juan, “there is a light
+and elegant bower of trellis-work, formed by arches, scrolls, and
+caryatids; the ribbon surrounding it is formed of flowers, fruit, and
+animals, amongst which frolic monkeys and dogs.” The borders are
+enriched with mythological figures.
+
+The tapestries were woven by Hector Vuyens, who made his own designs.
+
+
+GROUP 20. _The Story of Cyrus the Great_ (8 Tapestries)
+
+These tapestries, especially remarkable for their beautiful borders,
+were woven probably by Nicolas Leiniers, a well-known _tapissier_ of the
+sixteenth century. They bear the Brussels mark, but the designer of the
+cartoons is unknown. They are carried out in silk and wool, enriched
+with gold and silver thread. The tapestries passed into the possession
+of Philip II., and are known to have been used in the funeral ceremonies
+of Francis II. of France. There is in existence the account which was
+rendered by Philip’s tapestry maker to his master for the transportation
+of the tapestries from Madrid to Toledo, where the funeral took place.
+
+The tapestries represent episodes in the life of the great Persian
+conqueror, and certain of the legends that were current about his
+parentage. The designer of the cartoons seems to have followed the
+Thucedidean account of the delivering of the boy Cyrus to a shepherd,
+and his subsequent recognition by Astyages. Cyrus’s wars against the
+people of Lydia and his capture of Crœsus are, of course, historic.
+There is a legend related by some of the early historians that Cyrus
+desired to put Crœsus to death at the stake, a proceeding which would
+have been directly contrary to the principles of the Zoroastrian
+religion. The designer of the tapestries appears to have got hold of a
+distorted form of this story in the fifth panel of this series.
+
+The ghastly end imagined by the cartoonist for the conqueror is wholly
+fictitious. It is probable that Cyrus was killed actually on the field
+of battle.
+
+
+GROUP 21. _The Story of Diana or Artemis_ (7 Tapestries)
+
+It is under this name that this series of tapestries is classed in the
+inventories. On the plates of the pieces themselves, however, only the
+name, Diana, is employed. The series is the only one of French origin in
+the Spanish royal collection. It is from the Gobelins looms, which were
+established in 1603 by Van der Planken and Mare de Comano by contract
+with Henry IV. on the settlement of the Civil Wars.
+
+The life of Diana was a favourite subject of the French tapestry weavers
+from this time onward, and the pieces were eagerly purchased by the
+ladies who enjoyed the favour of the Navarrois king. Guiffrey gives a
+detailed account of all these series in his large _Histoire de la
+Tapisserie en France_.
+
+The designer of the series in the royal collection is unknown. It is a
+fine example of the florid art of the Renaissance. The borders are
+especially fine, containing medallions supported by nymphs and satyrs
+garlanded with fruit and flowers. In the orders of two of the plates
+are monograms of silk and gold similar to that in _Les Noces de
+l’Empereur Otton_ in the National Museum at Munich. Coats-of-arms are
+seen on the scrolls that surmount the panels. In the centre are the arms
+of Colonna with a ducal crown; to the right a chequered shield with
+argent and purple squares; to the left an escutcheon carrying two
+wolves.
+
+The subjects of the different tapestries are as follow:
+
+(1) Latona changing the labourers into frogs.
+
+(2) Diana surrounded by dogs.
+
+(3) Diana with nymphs resting in a wood.
+
+(4) Diana begs from Jupiter eternal maidenhood.
+
+(5) Niobe dissuades the people from sacrificing to Latona.
+
+(6) Diana and Apollo slay the children of Niobe.
+
+(7) Diana approves Meleager’s design of offering a boar’s head to
+Alithea.
+
+There is another plate referring to the same subject which represents
+the birth of Diana.
+
+
+GROUP 22. _Tapestries of the Chamber of Charles III._ (2 Tapestries)
+
+On the completion of the new palace of Madrid in 1764, Charles III.
+ordered his bedroom to be decorated with tapestries to the number of
+seventy-seven pieces. These, of which the two plates reproduced here are
+a fair example, were specially woven at the royal factory at Madrid.
+They are all of rich materials and fine workmanship, and were used, as
+well for hangings as for the covering of chairs and couches. The
+tapestries were designed by Antoine Anglois. The two here reproduced are
+woven in silk and gold. They were used as a curtain to the balcony of
+the King’s bedroom and as a counterpane and bolster-cover for the royal
+bed.
+
+It was owing to the interest taken by this monarch in the art of
+tapestry weaving that the factory at Madrid was placed under the
+supervision of that fine artist, Raphael Menos.
+
+
+GROUP 23. _The Spheres_
+
+This boldly planned and finely executed series is composed of three
+tapestries. The name of the designer of the cartoons is unknown, but he
+was evidently inspired by the Italian Renaissance. The figures are
+anatomically correct, and many of them were copied from well-known
+pictures.
+
+No. 1 shows Hercules upholding the world, and bears the inscription,
+_Magna Virtus sed Alienæ obnoxia_.
+
+No. 2 represents Atlas bearing the Universe on his shoulders.
+
+No. 3 represents Ferdinand and Isabella enthroned as monarchs of the
+whole world.
+
+[Illustration: STORY OF THE HOLY VIRGIN. BY VAN EYCK
+
+PLATE 1.
+
+1. JESUS WITH HIS MOTHER]
+
+[Illustration: STORY OF THE HOLY VIRGIN. BY VAN EYCK
+
+PLATE 2
+
+2. THE VIRGIN PRAYING]
+
+[Illustration: STORY OF THE HOLY VIRGIN. BY VAN EYCK
+
+PLATE 3
+
+3. THE ADORATION OF THE MAGI]
+
+[Illustration: STORY OF THE HOLY VIRGIN. BY VAN EYCK
+
+PLATE 4
+
+4. THE PRESENTATION OF JESUS IN THE TEMPLE]
+
+[Illustration: THE STORY OF DAVID AND BATHSHEBA
+
+PLATE 5
+
+1. DAVID SEES BATHSHEBA]
+
+[Illustration: THE STORY OF DAVID AND BATHSHEBA
+
+PLATE 6
+
+2. BATHSHEBA CONSENTS TO THE LOVE OF DAVID]
+
+[Illustration: THE STORY OF DAVID AND BATHSHEBA
+
+PLATE 7
+
+3. NATHAN REPROACHES DAVID WITH HIS SIN]
+
+[Illustration: STORY OF JOHN THE BAPTIST. BY VAN EYCK
+
+PLATE 8
+
+1. ZACHARIUS RECOVERING HIS SPEECH]
+
+[Illustration: STORY OF JOHN THE BAPTIST. BY VAN EYCK
+
+PLATE 9
+
+2. THE CHILD JOHN ASKS PERMISSION TO DEVOTE HIMSELF TO GOD]
+
+[Illustration: STORY OF JOHN THE BAPTIST. BY VAN EYCK
+
+PLATE 10
+
+3. ST. JOHN PREACHING IN THE WILDERNESS]
+
+[Illustration: STORY OF JOHN THE BAPTIST. BY VAN EYCK
+
+PLATE 11
+
+4. THE BAPTISM OF OUR LORD]
+
+[Illustration: PLATE 12
+
+THE PASSION OF OUR LORD
+
+IN THE GARDEN OF OLIVES]
+
+[Illustration: PLATE 13
+
+THE PASSION OF OUR LORD. BY VAN DER WEYDEN
+
+THE CRUCIFIXION]
+
+[Illustration: PLATE 14
+
+THE PASSION OF OUR LORD
+
+THE DESCENT FROM THE CROSS]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 15
+
+1. GOD REWARDS WORSHIP]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 16
+
+2. VIRTUE PUNISHES VICE]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 17
+
+3. FORTUNE DISTRIBUTES ROSES]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 18
+
+4. GOD REWARDS THE DEVOUT]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 19
+
+5. VIRTUE REWARDS HER VOTARIES]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 20
+
+6. GOD DISTRIBUTES HONOURS]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 21
+
+7. PRUDENCE IS COMMENDED]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 22
+
+8. THE FAITHFUL GAIN RENOWN]
+
+[Illustration: VICES AND VIRTUES
+
+PLATE 23
+
+9. INFAMY IS PUNISHED]
+
+[Illustration: PLATE 24
+
+VICES AND VIRTUES
+
+10. THE LAWGIVER DELIVERS JUDGMENT]
+
+[Illustration: PLATE 25
+
+THE FOUNDATION OF ROME
+
+1. ROMULUS AND REMUS ARE FOUND]
+
+[Illustration: THE FOUNDATION OF ROME
+
+PLATE 26
+
+2. REMUS TAKEN CAPTIVE]
+
+[Illustration: THE FOUNDATION OF ROME
+
+PLATE 27
+
+3. ROMULUS BECOMES KING]
+
+[Illustration: THE FOUNDATION OF ROME
+
+PLATE 28
+
+4. ROMULUS DICTATING THE LAWS]
+
+[Illustration: THE FOUNDATION OF ROME
+
+PLATE 29
+
+5. ROMULUS INSTITUTES THE FEAST OF NEPTUNE]
+
+[Illustration: THE FOUNDATION OF ROME
+
+PLATE 30
+
+6. ROMULUS GIVES THE LAWS TO THE PEOPLE]
+
+[Illustration: THE FOUNDATION OF ROME
+
+PLATE 31
+
+7. AFTER THE CAPTURE OF THE SABINES, HERSILIA IS PRESENTED TO ROMULUS]
+
+[Illustration: CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 32
+
+PLAN OF THE CAMPAIGN]
+
+[Illustration: PLATE 33
+
+CONQUEST OF TUNIS BY CHARLES V. BY J. VERMEYEN
+
+REVIEW OF THE ARMY]
+
+[Illustration: CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 34
+
+REVIEW OF THE ARMY (PART OF)]
+
+[Illustration: THE CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 35
+
+DISEMBARKING AT GOLETTA]
+
+[Illustration: CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 36
+
+ATTACK ON GOLETTA]
+
+[Illustration: CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 37
+
+FIGHT UNDER GOLETTA]
+
+[Illustration: THE CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 38
+
+SORTIE OF THE ENEMY FROM GOLETTA]
+
+[Illustration: THE CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 39
+
+THE CAPTURE OF GOLETTA]
+
+[Illustration: CONQUEST OF TUNIS BY CHARLES V
+
+PLATE 40
+
+THE CAPTURE OF TUNIS]
+
+[Illustration: PLATE 41
+
+THE CONQUEST OF TUNIS BY CHARLES V
+
+THE SACKING OF TUNIS]
+
+[Illustration: PLATE 42
+
+CONQUEST OF TUNIS BY CHARLES V
+
+THE ARMY RE-EMBARKS AFTER RETURNING FROM GOLETTA]
+
+[Illustration: PLATE 43
+
+CONQUEST OF TUNIS BY CHARLES V. BY J. VERMEYEN
+
+THE ARMY CAMPING AT PADA]
+
+[Illustration: PLATE 44
+
+STORY OF ABRAHAM
+
+1. THREE ANGELS ANNOUNCE TO ABRAHAM THAT SARAH WILL HAVE A SON]
+
+[Illustration: PLATE 45
+
+THE STORY OF ABRAHAM
+
+2. ABRAHAM OFFERING SACRIFICE]
+
+[Illustration: PLATE 46
+
+SCENES FROM REVELATIONS
+
+1. THE ANGEL THROWS THE BEAST INTO THE ABYSS]
+
+[Illustration: PLATE 47
+
+SCENES FROM REVELATIONS
+
+2. THE THREE HORSEMEN]
+
+[Illustration: PLATE 48
+
+SCENES FROM REVELATIONS
+
+3. ST. JOHN AND THE SEVEN CHURCHES OF ASIA]
+
+[Illustration: PLATE 49
+
+SCENES FROM REVELATIONS
+
+4. ST. JOHN RECEIVES THE ORDER TO MEASURE THE TEMPLE OF GOD]
+
+[Illustration: PLATE 50
+
+SCENES FROM REVELATIONS
+
+5. CONDEMNATION OF THE PROSTITUTE]
+
+[Illustration: PLATE 51
+
+SCENES FROM REVELATIONS
+
+6. THE ANGEL CARRYING THE GOSPEL]
+
+[Illustration: PLATE 52
+
+SCENES FROM REVELATIONS
+
+7. THE CROWD ADORE THE LAMB]
+
+[Illustration: PLATE 53
+
+SCENES FROM REVELATIONS
+
+8. THE FOUR ANGELS OF EUPHRATES]
+
+[Illustration: PLATE 54
+
+SCENES FROM REVELATIONS
+
+9. COMBAT BETWEEN GOOD AND EVIL SPIRITS]
+
+[Illustration: PLATE 55
+
+THE SEVEN DEADLY SINS
+
+1. LUXURY]
+
+[Illustration: THE SEVEN DEADLY SINS
+
+PLATE 56
+
+2. GREEDINESS]
+
+[Illustration: PLATE 57
+
+THE SEVEN DEADLY SINS
+
+3. ENVY]
+
+[Illustration: PLATE 58
+
+THE SEVEN DEADLY SINS
+
+4. ANGER]
+
+[Illustration: PLATE 59
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+1. THE MIRACULOUS DRAUGHT OF FISHES]
+
+[Illustration: PLATE 60
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+2. THE MIRACULOUS DRAUGHT OF FISHES]
+
+[Illustration: PLATE 61
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+3. THE MIRACLE OF THE PARALYTIC]
+
+[Illustration: PLATE 62
+
+THE ACTS OF THE APOSTLES. BY RAPHAEL
+
+4. THE DEATH OF ANANIAS]
+
+[Illustration: PLATE 63
+
+THE ACTS OF THE APOSTLES. BY RAPHAEL
+
+5. THE MARTYRDOM OF ST. STEPHEN]
+
+[Illustration: PLATE 64
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+6. MARTYRDOM OF ST. STEPHEN]
+
+[Illustration: PLATE 65
+
+THE ACTS OF THE APOSTLES. BY RAPHAEL
+
+7. THE CONVERSION OF ST. PAUL]
+
+[Illustration: PLATE 66
+
+THE ACTS OF THE APOSTLES. BY RAPHAEL
+
+8. THE BLINDNESS OF ELYMAS]
+
+[Illustration: PLATE 67
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+9. ST. PAUL AT LYSTRA]
+
+[Illustration: PLATE 68
+
+THE ACTS OF THE APOSTLES. BY RAPHAEL
+
+10. ST. PAUL IN THE TEMPLE]
+
+[Illustration: PLATE 69
+
+THE ACTS OF THE APOSTLES. BY RAPHAEL
+
+11. ST. PAUL AT EPHESUS]
+
+[Illustration: PLATE 70
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+12. ST. PAUL AT EPHESUS]
+
+[Illustration: PLATE 71
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+13. ST. PAUL PREACHING IN ATHENS]
+
+[Illustration: PLATE 72
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+14. CHRIST APPEARS TO HIS DISCIPLES]
+
+[Illustration: PLATE 73
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+15. CHRIST CHOOSING ST. PETER]
+
+[Illustration: PLATE 74
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+16. THE PARALYTIC]
+
+[Illustration: PLATE 75
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+17. DEATH OF ANANIAS]
+
+[Illustration: PLATE 76
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+18. CONVERSION OF ST. PAUL]
+
+[Illustration: PLATE 77
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+19. THE BLIND MAN ELYMAS]
+
+[Illustration: PLATE 78
+
+ACTS OF THE APOSTLES. BY RAPHAEL
+
+20. ST. PAUL AND ST. BARNABAS AT LYSTRA]
+
+[Illustration: PLATE 70
+
+VERTUMNUS AND POMONA
+
+1. VERTUMNUS TRANSFORMED INTO A HUSBANDMAN]
+
+[Illustration: PLATE 80
+
+VERTUMNUS AND POMONA
+
+2. VERTUMNUS TAKES A FISHING ROD]
+
+[Illustration: PLATE 81
+
+VERTUMNUS AND POMONA
+
+3. VERTUMNUS TRANSFORMED INTO AN AGRICULTURIST]
+
+[Illustration: PLATE 82
+
+VERTUMNUS AND POMONA
+
+4. VERTUMNUS TRANSFORMED INTO A GARDENER]
+
+[Illustration: PLATE 83
+
+VERTUMNUS AND POMONA
+
+5. VERTUMNUS TRANSFORMED INTO A REAPER]
+
+[Illustration: PLATE 84
+
+VERTUMNUS AND POMONA
+
+6. VERTUMNUS AT THE HARVEST]
+
+[Illustration: PLATE 85
+
+VERTUMNUS AND POMONA
+
+7. POMONA UPBRAIDS VERTUMNUS]
+
+[Illustration: PLATE 86
+
+VERTUMNUS AND POMONA
+
+8. VERTUMNUS, DISGUISED, KISSES POMONA]
+
+[Illustration: PLATE 87
+
+VERTUMNUS AND POMONA
+
+9. VERTUMNUS REGAINS HIS NATURAL FORM]
+
+[Illustration: PLATE 88
+
+THE STORY OF SCIPIO AFRICANUS
+
+1. THE CAPTURE OF CARTHAGE]
+
+[Illustration: PLATE 89
+
+THE STORY OF SCIPIO AFRICANUS
+
+2. SCIPIO SAVES HIS FATHER AT THE BATTLE OF TESIN]
+
+[Illustration: PLATE 90
+
+THE STORY OF SCIPIO AFRICANUS
+
+3. CARTHAGE SENDS AMBASSADORS TO SCIPIO AFTER THE BATTLE OF ZAMA]
+
+[Illustration: PLATE 91
+
+THE STORY OF SCIPIO AFRICANUS
+
+4. THE TRIUMPH OF SCIPIO]
+
+[Illustration: PLATE 92
+
+THE STORY OF SCIPIO AFRICANUS
+
+5. THE BANQUET]
+
+[Illustration: PLATE 93
+
+THE STORY OF SCIPIO AFRICANUS
+
+6. SCIPIO GIVES UP HIS BETROTHED]
+
+[Illustration: PLATE 94
+
+THE STORY OF SCIPIO AFRICANUS
+
+7. SCIPIO GIVES UP HIS BETROTHED (SECTION OF TAPESTRY)]
+
+[Illustration: PLATE 95
+
+THE STORY OF SCIPIO AFRICANUS
+
+8. SCIPIO DELIVERS JUDGMENT]
+
+[Illustration: PLATE 96
+
+THE STORY OF SCIPIO AFRICANUS
+
+9. THE TRIUMPH OF SCIPIO]
+
+[Illustration: PLATE 97
+
+THE STORY OF SCIPIO AFRICANUS
+
+10. INTERVIEW BETWEEN SCIPIO AND HANNIBAL]
+
+[Illustration: PLATE 98
+
+THE STORY OF SCIPIO AFRICANUS
+
+10. THE TRIUMPH OF SCIPIO]
+
+[Illustration: PLATE 99
+
+THE STORY OF CYRUS
+
+1. CYRUS TAKES ASTYAGE PRISONER]
+
+[Illustration: PLATE 100
+
+THE STORY OF CYRUS
+
+2. CYRUS IS RECOGNIZED BY ASTYAGE]
+
+[Illustration: PLATE 101
+
+THE STORY OF CYRUS
+
+3. MEETING OF CYRUS AND THE QUEEN]
+
+[Illustration: PLATE 102
+
+THE STORY OF CYRUS
+
+4. CYRUS SENDS A MESSENGER]
+
+[Illustration: PLATE 108
+
+THE STORY OF CYRUS
+
+5. CYRUS UNITES THE MEDES AND PERSIANS]
+
+[Illustration: PLATE 104
+
+THE STORY OF CYRUS
+
+6. CYRUS SAVES CRŒSUS FROM THE STAKE]
+
+[Illustration: PLATE 105
+
+THE STORY OF CYRUS
+
+7. THE QUEEN AND CYRUS]
+
+[Illustration: PLATE 106
+
+THE STORY OF CYRUS
+
+8. CYRUS TAKES CRŒSUS PRISONER]
+
+[Illustration: THE STORY OF CYRUS
+
+PLATE 107
+
+9. CYRUS AND THE LYDIANS]
+
+[Illustration: THE STORY OF CYRUS
+
+PLATE 108
+
+10. CYRUS RELEASES THE HEBREWS]
+
+[Illustration: STORY OF CYRUS
+
+PLATE 109
+
+11. CYRUS IS ENTRUSTED TO A SHEPHERD]
+
+[Illustration: STORY OF CYRUS
+
+PLATE 110
+
+12. HYSTASPE AND AMENOPHIS]
+
+[Illustration: STORY OF DIANA
+
+PLATE 111
+
+1. THE BIRTH OF DIANA]
+
+[Illustration: STORY OF DIANA
+
+PLATE 112
+
+2. DIANA RESTING]
+
+[Illustration: STORY OF DIANA
+
+PLATE 113
+
+3. DIANA AND JUPITER]
+
+[Illustration: PLATE 114
+
+THE SPHERES
+
+1. HERCULES SUPPORTS THE SKY]
+
+[Illustration: THE SPHERES
+
+PLATE 115
+
+2. ATLAS SUPPORTS THE WORLD]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 116
+
+1. DECIUS RAISES HIS COUNTRY]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 117
+
+2. DECIUS SENDS THE LICTORS TO MANLIUS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 118
+
+3. DECIUS BIDS FAREWELL TO THE LICTORS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 119
+
+4. DECIUS DEPARTS TO FIGHT THE LATINS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 120
+
+5. DECIUS DEDICATES HIMSELF TO THE LEGIONS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 121
+
+6. VALERIUS AND DECIUS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 122
+
+7. THE VISION OF DECIUS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 123
+
+8. DEATH OF DECIUS]
+
+[Illustration: STORY OF DECIUS
+
+PLATE 124
+
+9. FUNERAL OF DECIUS]
+
+[Illustration: STORY OF VENUS
+
+PLATE 125
+
+1. OFFERINGS TO VENUS]
+
+[Illustration: STORY OF VENUS
+
+PLATE 126
+
+2. THE CHALLENGE OF CUPID AND VENUS]
+
+[Illustration: STORY OF THE CREATION OF MAN
+
+PLATE 127
+
+1. GOD CREATES MAN]
+
+[Illustration: STORY OF THE CREATION OF MAN
+
+PLATE 128
+
+2. CAIN KILLS HIS BROTHER ABEL]
+
+[Illustration: STORY OF THE CREATION OF MAN
+
+PLATE 129
+
+3. GOD CURSES CAIN]
+
+[Illustration: STORY OF THE CREATION OF MAN
+
+PLATE 130
+
+THE TREE OF GOOD AND EVIL]
+
+[Illustration: THE STORY OF TOBIAS
+
+PLATE 131
+
+1. SARAH MARRIES TOBIAS]
+
+[Illustration: THE STORY OF TOBIAS
+
+PLATE 132
+
+2. RETURN OF TOBIAS AND SARAH]
+
+[Illustration: PLATE 133
+
+THE SEASONS
+
+1. SUMMER]
+
+[Illustration: PLATE 134
+
+THE SEASONS
+
+2. WINTER]
+
+[Illustration: STORY OF SOLOMON
+
+PLATE 135
+
+1. SOLOMON IS ANOINTED KING]
+
+[Illustration: PLATE 136
+
+STORY OF SOLOMON
+
+2. SOLOMON MARRIES AN EGYPTIAN PRINCESS]
+
+[Illustration: PLATE 137
+
+STORY OF SOLOMON
+
+3. SOLOMON AND THE QUEEN OF SHEBA]
+
+[Illustration: PLATE 138
+
+HISTORY OF MAN’S LIFE
+
+1. DIVINITY ADVOCATES TEMPERANCE TO MAN]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 139
+
+2. THE VICES REPULSE TEMPERANCE]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 140
+
+3. TIME SURROUNDS HIM WITH PRUDENCE]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 141
+
+4. VIRTUE TRIUMPHANT]
+
+[Illustration: PLATE 142
+
+HISTORY OF MAN’S LIFE
+
+5. PATIENCE HUMILIATES FORTUNE]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 143
+
+6. FORTUNE FIGHTS AVARICE]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 144
+
+7. BLIND FORTUNE BESTOWS GOOD AND EVIL]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 145
+
+8. TWO ANCIENT PHILOSOPHERS]
+
+[Illustration: HISTORY OF MAN’S LIFE
+
+PLATE 146
+
+9. DIVINITY REVEALS TEMPERANCE]
+
+[Illustration: PLATE 147
+
+HISTORY OF MAN’S LIFE
+
+10. VICE REPULSES TEMPERANCE]
+
+[Illustration: STORY OF ANTHONY AND CLEOPATRA
+
+PLATE 148
+
+1. ANTHONY LEAVES ROME]
+
+[Illustration: PLATE 149
+
+STORY OF ANTHONY AND CLEOPATRA
+
+2. ANTHONY RECEIVES HOMAGE]
+
+[Illustration: PLATE 150
+
+STORY OF ANTHONY AND CLEOPATRA
+
+3. ANTHONY DISPOSES OF THE TREASURES OF EGYPT]
+
+[Illustration: STORY OF ANTHONY AND CLEOPATRA
+
+PLATE 151
+
+CLEOPATRA MOCKS ANTHONY’S WEAKNESS]
+
+[Illustration: PLATE 152
+
+STORY OF ALEXANDER THE GREAT
+
+1. ALEXANDER AND HIS DOCTOR PHILIP]
+
+[Illustration: STORY OF ALEXANDER THE GREAT
+
+PLATE 153
+
+2. BATTLE OF ISSUS]
+
+[Illustration: PLATE 154
+
+STORY OF ALEXANDER THE GREAT
+
+3. THE SIEGE OF TYRE]
+
+[Illustration: STORY OF ALEXANDER THE GREAT
+
+PLATE 155
+
+4. ALEXANDER IN CARMONIA]
+
+[Illustration: STORY OF ALEXANDER THE GREAT
+
+PLATE 156
+
+5. SURRENDER OF THE KING OF CYPRUS AND PHŒNICIA]
+
+[Illustration: STORY OF ALEXANDER THE GREAT
+
+PLATE 157
+
+6. ALEXANDER IN ASIA MINOR]
+
+[Illustration: PLATE 158
+
+THE TRIUMPH OF LOVE]
+
+[Illustration: PLATE 159
+
+THE TRIUMPH OF DEATH]
+
+[Illustration: PLATE 160
+
+THE TRIUMPH OF CHASTITY]
+
+[Illustration: PLATE 161
+
+STORY OF TELEMACHUS
+
+1. YOUNG TELEMACHUS]
+
+[Illustration: STORY OF TELEMACHUS
+
+PLATE 162
+
+2. NEPTUNE WRECKING ULYSSES’ SHIP]
+
+[Illustration: STORY OF ST. PAUL
+
+PLATE 163
+
+1. ST. PAUL IN THE TEMPLE]
+
+[Illustration: STORY OF ST. PAUL
+
+PLATE 164
+
+2. ST. PAUL BEFORE AGRIPPA]
+
+[Illustration: STORY OF ST. PAUL
+
+PLATE 165
+
+ST. PAUL EXECUTED AT ROME]
+
+[Illustration: TEMPTATIONS OF ST. ANTHONY
+
+PLATE 166
+
+1. DEPARTURE OF ST. ANTHONY FOR THE RETREAT]
+
+[Illustration: TEMPTATIONS OF ST. ANTHONY
+
+PLATE 167
+
+2. ST. ANTHONY TEMPTED BY THE DEVIL]
+
+[Illustration: TEMPTATIONS OF ST. ANTHONY
+
+PLATE 168
+
+PARADISE, PURGATORY AND HELL]
+
+[Illustration: STORY OF THE EMPEROR OCTAVIUS
+
+PLATE 169
+
+1. JULIUS CÆSAR ADOPTS OCTAVIUS]
+
+[Illustration: STORY OF THE EMPEROR OCTAVIUS
+
+PLATE 170
+
+2. BATTLE OF PHILIPPI]
+
+[Illustration: PLATE 171
+
+STORY OF THE EMPEROR OCTAVIUS
+
+3. OCTAVIUS CLOSES THE TEMPLE OF WAR]
+
+[Illustration: STORY OF OCTAVIUS
+
+PLATE 172
+
+4. DEATH OF CLEOPATRA]
+
+[Illustration: STORY OF MOSES
+
+PLATE 173
+
+1. MOSES AND AARON BEFORE PHAROAH]
+
+[Illustration: STORY OF MOSES
+
+PLATE 174
+
+2. GOD CHOOSES MOSES TO DELIVER ISRAEL]
+
+[Illustration: STORY OF MOSES
+
+PLATE 175
+
+2. MOSES COMES FROM MOUNT SINAI]
+
+[Illustration: BATTLES OF THE ARCHDUKE ALBERT
+
+PLATE 176
+
+SURRENDER OF HULST]
+
+[Illustration: BATTLES OF THE ARCHDUKE ALBERT
+
+PLATE 177
+
+2. ARDRES IS SURPRISED BY A NIGHT ATTACK]
+
+[Illustration: BATTLES OF THE ARCHDUKE ALBERT
+
+PLATE 178
+
+3. HULST BESIEGED]
+
+[Illustration: BATTLES OF THE ARCHDUKE ALBERT
+
+PLATE 179
+
+4. TAKING OF CALAIS]
+
+[Illustration: PLATE 180
+
+BATTLES OF THE ARCHDUKE ALBERT
+
+5. THE RETURN OF THE GARRISON]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 181
+
+1. THESEUS LEAVES FOR CRETE]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 182
+
+2. THESEUS RECEIVES THE SWORD OF ÆGEUS]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 183
+
+3. ÆGEUS RECOGNISES HIS SON]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 184
+
+4. THESEUS ARMED WITH THE MACE]
+
+[Illustration: PLATE 185
+
+5. BACCHUS MARRIES ARIADNE]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 186
+
+6. THESEUS RECEIVES THE RING OF MINOS]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 187
+
+7. THESEUS LEADS THE BULL OF MARATHON]
+
+[Illustration: STORY OF THESEUS
+
+PLATE 188
+
+8. THESEUS AND THE HEAD OF MINOTAURUS]
+
+[Illustration: PLATE 189
+
+THE FUNERAL OF KING TURNUS]
+
+[Illustration: PLATE 190
+
+DIDO CONTEMPLATES ÆNEAS’ PORTRAIT]
+
+[Illustration: STORY OF SAMSON
+
+PLATE 191
+
+1. SAMSON PROPOUNDS HIS RIDDLE]
+
+[Illustration: STORY OF SAMSON
+
+PLATE 192
+
+2. SAMSON IS BETRAYED BY DELILAH]
+
+[Illustration: STORY OF NOAH
+
+PLATE 193
+
+1. NOAH BUILDING THE ARK]
+
+[Illustration: STORY OF NOAH
+
+PLATE 194
+
+2. NOAH LEAVING THE ARK]
+
+[Illustration: THE WAY OF HONOUR
+
+PLATE 195
+
+1. GRACE ACCORDS IMMORTAL CROWNS]
+
+[Illustration: THE WAY OF HONOUR
+
+PLATE 196
+
+2. VIRTUE ACCORDS HONOURS]
+
+[Illustration: THE WAY OF HONOUR
+
+PLATE 197
+
+3. MERIT RECEIVES REWARDS]
+
+[Illustration: STORY OF ZENOBIA
+
+PLATE 198
+
+1. NUPTIAL BANQUET OF ZENOBIA AND ODENAT]
+
+[Illustration: STORY OF ZENOBIA
+
+PLATE 199
+
+2. ZENOBIA IS TAKEN PRISONER]
+
+[Illustration: STORY OF ZENOBIA
+
+PLATE 200
+
+3. ZENOBIA LED CAPTIVE]
+
+[Illustration: STORY OF DON QUIXOTE
+
+PLATE 201
+
+1. DEPARTURE OF DON QUIXOTE]
+
+[Illustration: PLATE 202
+
+STORY OF DON QUIXOTE
+
+2. DON QUIXOTE AND THE THREE PEASANT WOMEN]
+
+[Illustration: STORY OF DON QUIXOTE
+
+PLATE 203
+
+3. PRINCESS MICOMICONA]
+
+[Illustration: PLATE 204
+
+STORY OF DON QUIXOTE
+
+4. DON QUIXOTE IS BEATEN BY THE MERCHANTS]
+
+[Illustration: PLATE 205
+
+STORY OF DON QUIXOTE
+
+5. DON QUIXOTE IS ENCLOSED IN A CAGE]
+
+[Illustration: PLATE 206
+
+STORY OF DON QUIXOTE
+
+6. THE MULETEER MEETS DON QUIXOTE]
+
+[Illustration: PLATE 207
+
+STORY OF DON QUIXOTE
+
+7. SANCHO MARCHES TO TOBOSO]
+
+[Illustration: PLATE 208
+
+STORY OF DON QUIXOTE
+
+8. REPETITIONS OF PRECEDING PICTURES]
+
+[Illustration: PLATE 209
+
+STORY OF PHAETON
+
+1. PHŒBUS ALLOWS PHAETON TO DRIVE THE CHARIOT OF THE SUN]
+
+[Illustration: PLATE 210
+
+STORY OF PHAETON
+
+2. PHAETON DRIVES THE CHARIOT OF THE SUN]
+
+[Illustration: PLATE 211
+
+STORY OF PHAETON
+
+3. JUPITER CONFOUNDS PHAETON]
+
+[Illustration: PLATE 212
+
+STORY OF PHAETON
+
+4. THE BODY OF PHAETON IS RECOVERED]
+
+[Illustration: PLATE 213
+
+CHASTITY PUTS CUPID TO FLIGHT]
+
+[Illustration: PLATE 214
+
+RUSTIC SCENES AFTER GOYA AND BAYEU]
+
+[Illustration: PLATE 215
+
+PANELS AFTER GOYA]
+
+[Illustration: PLATE 216
+
+QUARREL IN AN INN. AFTER GOYA]
+
+[Illustration: PLATE 217
+
+PANELS AFTER TENIERS]
+
+[Illustration: PLATE 218
+
+PANELS AFTER TENIERS]
+
+[Illustration: PLATE 219
+
+PANELS AFTER TENIERS]
+
+[Illustration: PLATE 220
+
+A VILLAGE DANCE AFTER TENIERS]
+
+[Illustration: PLATE 221
+
+PANELS AFTER TENIERS]
+
+[Illustration: PLATE 222
+
+DESCENT FROM THE CROSS]
+
+[Illustration: PLATE 223
+
+CHRIST ON THE CROSS]
+
+[Illustration: PLATE 224
+
+THE CRUCIFIXION. BY VAN DER WEYDEN]
+
+[Illustration: PLATE 225
+
+OUR LORD APPEARING TO THE HOLY WOMEN]
+
+[Illustration: PLATE 226
+
+ST. JEROME IN THE DESERT]
+
+[Illustration: PLATE 227
+
+THE ETERNAL FATHER]
+
+[Illustration: PLATE 228
+
+OUR LORD AND ST. VERONICA]
+
+[Illustration: PLATE 229
+
+MARY ANOINTING THE FEET OF THE SAVIOUR]
+
+[Illustration: PLATE 230
+
+THE CONFUSION OF TONGUES]
+
+[Illustration: PLATE 231
+
+THE LAST SUPPER]
+
+[Illustration: PLATE 232
+
+THE ADORATION OF THE MAGI]
+
+[Illustration: PLATE 233
+
+NEOPTOLEMY SACRIFICES POLYZENA]
+
+[Illustration: PLATE 234
+
+TIME AND TEMPERANCE RESTRAIN CUPID]
+
+[Illustration: PLATE 235
+
+ULYSSES ACCEPTS THE PRESENTS OF ALCINOUS]
+
+[Illustration: PLATE 236
+
+PENELOPE RECOGNISES ULYSSES]
+
+[Illustration: PLATE 237
+
+COURTIERS PRESENTING THEMSELVES BEFORE A KING]
+
+[Illustration: PLATE 238
+
+CHILDREN PLAYING. 16TH CENTURY]
+
+[Illustration: PLATE 239
+
+THE DEATH OF CLEOPATRA]
+
+[Illustration: PLATE 240
+
+PORTRAIT OF A WOMAN]
+
+[Illustration: PLATE 241
+
+CALCHAS AND AGAMEMNON]
+
+[Illustration: PLATE 242
+
+A GROVE]
+
+[Illustration: PLATE 243
+
+ON THE BANKS OF A RIVER]
+
+[Illustration: PLATE 244
+
+PRINCE BALTAZAR CARLOS]
+
+[Illustration: PLATE 245
+
+ALLEGORY OF THE TIBER AND ROME]
+
+[Illustration: PLATE 246
+
+IMPERIAL FUNERAL BED OF STATE]
+
+[Illustration: PLATE 247
+
+ROYAL ARMS OF PHILIP V]
+
+[Illustration: PLATE 248
+
+PANELS]
+
+[Illustration: PLATE 249
+
+A FRIEZE]
+
+[Illustration: PLATE 250
+
+BORDERS OF TAPESTRIES]
+
+[Illustration: PLATE 251
+
+THE PASSION OF OUR LORD]
+
+[Illustration: PLATE 252
+
+DEATH OF ABSALOM]
+
+[Illustration: PLATE 253
+
+THE BIRTH OF CHRIST]
+
+[Illustration: PLATE 254
+
+DESCENT FROM THE CROSS]
+
+[Illustration: PLATE 255
+
+ST. GREGORY’S MASS]
+
+[Illustration: PLATE 256
+
+TRIUMPH OF JOSEPH]
+
+[Illustration: PLATE 257
+
+KING CHARLES III]
+
+[Illustration: PLATE 258
+
+QUEEN AMELIA OF SAXONY]
+
+[Illustration: PLATE 259
+
+MYTHOLOGICAL SUBJECT]
+
+[Illustration: PLATE 260
+
+AFTER THE VICTORY]
+
+[Illustration: PLATE 261
+
+THE TEMPLE]
+
+[Illustration: PLATE 262
+
+THE COLONNADE]
+
+[Illustration: PLATE 263
+
+THE PALACE]
+
+[Illustration: PLATE 264
+
+FRAGMENTS]
+
+[Illustration: PLATE 265
+
+PANELS]
+
+[Illustration: PLATE 266
+
+PANELS AFTER ANDRES DE AGUIRRE]
+
+[Illustration: PLATE 267
+
+PANELS AFTER TENIERS]
+
+[Illustration: PLATE 268
+
+FRAGMENTS AFTER TENIERS]
+
+[Illustration: PLATE 269
+
+FRAGMENTS AFTER TENIERS]
+
+[Illustration: PLATE 270
+
+PANELS AFTER TENIERS]
+
+[Illustration: PLATE 271
+
+FRAGMENTS AFTER TENIERS]
+
+[Illustration: PLATE 272
+
+FRAGMENTS AFTER TENIERS]
+
+[Illustration: PLATE 273
+
+CHILDREN PLAYING. AFTER GOYA]
+
+[Illustration: PLATE 274
+
+PANELS AFTER GOYA]
+
+[Illustration: PLATE 275
+
+PANELS AFTER GOYA AND BAYEU]
+
+[Illustration: PLATE 276
+
+PANELS AFTER GOYA AND BAYEU]
+
+[Illustration: PLATE 277
+
+CORIOLANUS AND HIS MOTHER]
+
+ * * * * *
+
+HISTORIC PARIS
+
+ By JETTA S. WOLFF, author of “The Story of the Paris Churches.”
+ Illustrated. Crown 8vo. 10s. 6d. net.
+
+In this most attractive volume we have the ideal guide-book, for,
+besides fulfilling all the functions of a guide, Miss Wolff has a fine
+literary style and considerable historical knowledge, as well as a very
+intimate knowledge of all the historical sites and buildings of Paris.
+Her interesting text is pleasantly aided by numerous drawings in line.
+
+
+WHAT PICTURES TO SEE IN EUROPE
+
+ By LORINDA M. BRYANT. With numerous Illustrations. Crown 8vo. 7s.
+ 6d. net.
+
+
+WHAT SCULPTURE TO SEE IN EUROPE
+
+ By LORINDA M. BRYANT, author of “American Pictures and their
+ Painters.” With numerous Illustrations. Crown 8vo. 7s. 6d. net.
+
+These books have found so wide a circle of readers in America that it
+has been thought advisable to issue on this side editions which have
+been enlarged and brought up to date for the convenience of the
+thousands of tourists who, now that foreign travel is permitted, will
+find the need of a comprehensive and adequate guide to the art treasures
+of Europe. The “stay-at-home,” no less than the tourist, will find
+entertainment and information within its pages.
+
+
+MACEDONIA: A Plea for the Primitive
+
+ By A. GOFF and DR. HUGH A. FAWCETT. With Drawings in colour, pencil
+ and line. Demy 8vo. £1 1s. net.
+
+_Times._--“A pleasant surprise--it will bring pleasure to the reader
+delighted at last to find a work which leaves soldier-work and policies
+on one side and devotes itself to the discussion of what is nice in
+Macedonia instead of labouring to expose once again that which is
+nasty.”
+
+
+JOHN LANE, THE BODLEY HEAD, VIGO ST., W.1 “_The most thrilling volume
+of the year._”--DAILY MAIL.
+
+SOME EXPERIENCES OF A NEW GUINEA RESIDENT MAGISTRATE
+
+ By Captain C. A. W. MONCKTON, F.R.G.S., F.Z.S., F.R.A.I. With
+ numerous Illustrations. Fourth Edition. Demy 8vo. £1 1s. net.
+
+Robert Lynd in the _Daily News_.--“Captain Monckton has a lively pen. He
+has enjoyed his life among savages ... and his book is written with the
+zest of a schoolboy ... a frank and cheerful book.”
+
+_Times Literary Supplement._--“Mr. Monckton has written a boys’ book for
+men. In it something happens on every page.... It is a long book, though
+not a page too long.”
+
+_Daily Mail._--“A book of entrancing interest for boys and their
+fathers. It is a plain and a true one, and is stranger than fiction. The
+most remarkable book of travel and exploration since Stanley’s ‘Darkest
+Africa.’”
+
+
+UNCONDUCTED WANDERERS
+
+ By ROSITA FORBES. With over 70 Illustrations from photographs by
+ the Author and others. Demy 8vo. 12s. 6d. net.
+
+“Unconducted Wanderers” is a very amusing travel book of the best sort.
+After a spell of war work the author and a woman friend went to America,
+and thence to the South Seas, to Java, the Malay States, Siam, Cambodia,
+China and Korea. The book is extremely lively in tone and fresh in
+feeling, and the observations and experiences of the travellers,
+particularly in China during the Rebellion, are of quite unusual
+interest.
+
+_Evening Standard._--“Those in search of the perfect companion for a
+lazy afternoon in a hammock will find their wants admirably supplied by
+‘Unconducted Wanderers.’ Their Adventures are retailed with an unfailing
+humorous touch, and the scenery and occupants of these far foreign
+strands are painted in descriptive language which is always vivid, and
+at times beautiful.”
+
+
+JOHN LANE, THE BODLEY HEAD, VIGO ST., W. 1
+
+
+TOPEE AND TURBAN, or Here and There, in India
+
+ By Lieut.-Colonel H. A. NEWELL, I.A., With Illustrations from
+ photographs. Demy 8vo. £1 1s. net.
+
+_Daily News._--“An excellent book.... Colonel Newell has a quick eye for
+things seen, and a happy interest in history that makes the book
+something more than a motorist’s guide-book.... Fully illustrated with
+photographs of great interest and variety.”
+
+_Daily Mail._--“Everyone ought to know more about India, and a pleasant
+way of informing oneself is offered by Colonel Newell’s ‘Topee and
+Turban in India.’”
+
+_Times._-“A record of several motor trips in India, abundantly
+illustrated, and discursive to just the appropriate length.”
+
+_Westminster Gazette._--“In this book Colonel Newell shows that he has
+been a close student and observer of many things in India and Indian
+life.”
+
+
+JAPANESE IMPRESSIONS
+
+ By PAUL LOUIS COUCHOUD. Translated from the French “Sages et Poètes
+ d’Asie,” by FRANCES RUMSEY, with a specially written Preface by
+ ANATOLE FRANCE. Demy 8vo. 7s. 6d. net.
+
+This book consists of the impressions of Japan of a keen observer, a
+scholar, and a remarkable master of language. “The charm of M.
+Couchoud,” says Monsieur Anatole France, “lies in that rare power to
+evoke ancient or distant facts which is the faculty of a Renan and a
+Ferrero, and which touches history with the interest of a living
+spectacle.” The book contains a long and highly characteristic
+introduction by Monsieur Anatole France, which has never been printed in
+French.
+
+
+ART AND I
+
+By C. LEWIS HIND. Crown 8vo. 10s. 6d. net.
+
+
+JOHN LANE, THE BODLEY HEAD, VIGO ST., W. 1
+
+
+A DWELLER IN MESOPOTAMIA
+
+ By DONALD MAXWELL, author of “The Last Crusade,” etc. With numerous
+ Illustrations by the Author in colour, half-tone, and line. Crown
+ 4to. £1 5s. net.
+
+_Morning Post._--“The sketches are particularly attractive, both in
+subject and expression, and all are faithfully reproduced.... Altogether
+this is a delightful volume, chastely bound in green and brown-toned
+linen.”
+
+_Evening Standard._--“A delightful sketch book.... His adventures are
+told in breezy, unofficial style.”
+
+_Observer._--“Mr. Maxwell’s receptive eye and delicate hand.”
+
+_Outlook._--“His illustrations are eloquent of the fascinations of the
+ancient East ... makes interesting reading.”
+
+_Daily Telegraph._--“Mr. Donald Maxwell’s previous book, ‘The Last
+Crusade,’ was a happy mixture of art and literature dealing with
+Palestine, and his new volume, ‘A Dweller in Mesopotamia,’ is, we think,
+even a happier combination, for while the art is as true and as
+excellent as ever, the descriptions of the people he met and the
+adventures he experienced are more vivid, varied, and entertaining....
+The book will be treasured by those who value good artistic work and
+racy description.”
+
+
+A PAINTER IN PALESTINE
+
+ Being a story of an impromptu pilgrimage through the Holy Land with
+ Bible and Sketch Book. By DONALD MAXWELL, author of “Adventures
+ with a Sketch-Book,” etc. With an Introduction by the Dean of
+ Rochester. Illustrated by the Author. Crown 8vo. 5s. net.
+
+
+JOHN LANE, THE BODLEY HEAD, VIGO ST., W. 1
+
+
+
+
+
+End of Project Gutenberg's The Spanish Royal Tapestries, by Albert F. Calvert
+
+*** END OF THE PROJECT GUTENBERG EBOOK 60790 ***
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